Pop Art

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Pop ArtThe Landscape of Signs
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POP ART BEGAN IN LONDON (left) Francis Bacon
(British, 1909-1992), Head Surrounded by Sides of
Beef, 1954, British Existential Figuration
(right) Eduardo Paolozzi (British, 1924-2005),
Real Gold, collage, 14 x 19 in., 1950, British Pop
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The Blitz From September 7 1940 through May
1941, the German Luftwaffe bombed British cities,
especially London, almost nightly. Here London
fire fighters extinguish flames following an air
raid. More than 43,000 deaths and 1,400,000
people were made homeless, 4 million homes
destroyed or badly damaged.
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Eduardo Paolozzi, (right) I was a Rich Man's
Plaything  1947 (left) Meet the People, 1948,
from Ten Collages from 1952 BUNK lecture, collage
mounted on card support, 14 x 9.5 in. The
iconography of a new world.
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Richard Hamilton (British, b. 1922) Just What is
it That Makes Today's Homes So Different, So
Appealing? Collage (photomontage), 10 x 9, 1956,
British Pop
Hamilton defined Pop Art in a letter dated
January 16, 1957 "Pop Art is popular,
transient, expendable, low-cost, mass-produced,
young, witty, sexy, gimmicky, glamorous, and Big
Business."
1964
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Jasper Johns (US, born 1930), Three Flags, 1958,
encaustic on canvas, 31 45 5 in.
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Robert Rauschenberg (American 1925-2007), Retroact
ive I, 1963. Oil and silkscreen ink on canvas
American Proto-Pop. JF Kennedy was assassinated
in November, 1963
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Andy Warhol, 32 Campbells Soup Cans, 1962,
acrylic on canvas, screened with hand painted
details, 20x16 in. ea (lower right) Ferus Gallery
installation, Los Angeles,1962. Warhols first
gallery show. Repetition and coldness of
appropriation from commodity culture is the
hallmark of Pop Art. Five canvases sold for 100
each, but Irving Blum, co-owner of Ferus, bought
them back to keep the set intact and later partly
gifted them to MoMA NYC.
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Warhol, (left) Gold Marilyn Monroe, 1962,
acrylic, silkscreen and oil on canvas (right)
Marilyn, 1962. Series followed Monroes
(probable) suicide in August 1962.
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Andy Warhol, Marilyn Diptych, 1962, acrylic
silkscreen on canvas
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Andy Warhol, 210 Coca-Cola bottles, 1962,
Silkscreen, ink synthetic polymer paint on
canvas, 610 x 89
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Warhol, (left) Jackie, The Week That Was, 1963
(right) Suicide 1963, Acrylic and silkscreen, 6
H
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Warhol, (left) Lavender Disaster, 1971 (right
top and below) Electric Chair, 1971,
screenprints. Everything I do is connected with
death. (Warhol, 1978)
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Andy Warhol, Brillo Box, 1964, acrylic and
silkscreen on plywood, 17 x 17 x 15 in
At the Tate Modern the conundrum

• Greenbergs narrative comes to an end with Pop
  It came to an end when art came to an end, when
  art, as it were, recognized there was no special
  way a work of art had to be. - Arthur Danto
  (1964)
• After the End of Art, 1997
• Is an endless playing with the definition of art
  all that art now has to offer?
• - Charles Harrison
• Conceptual Art (Themes)

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Roy Lichtenstein (American, 1923-1997), cover of
Newsweek, 1966, New York Pop Art
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(right) Roy Lichtenstein (US,
1923-1997), Hopeless, 1963, oil and synthetic
polymer paint on canvas, 38 x 38(left) Tony
aAbruzzo, panel from Run For Love! in Secret
Hearts, no. 83, November 1962, D.C. Comics.
Source for Lichtensteins Hopeless
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James Rosenquist, President Elect, oil on
masonite, 12 feet wide, 1960-1 (New York Pop
Art) (right) mockup for painting and (below)
artist in studio Im interested in
contemporary fission the flick of chrome,
reflections, rapid associations, quick flashes of
light. Big-bang! Bing-bang! I dont do
anecdotes I accumulate experiences.
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Rosenquist,(left) right left halves of F-111,
installation, oil on canvas and aluminum, 23
sections, 10 x 86 feet, 1964-5, The Museum of
Modern Art, NY
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Claes Oldenburg (US, born 1929) The Store, Dec.
1, 1961 - Jan. 31, 1962, Ray Gun Mfg. Co., 107
East Second Street, New York. Roast Beef, 1961,
inside studio/store (with artist), view looking
out, poster, Green Gallery sponsor.
I am for an art that is political-erotic-mystical
, that does something other than sit on its ass
in a museum.
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Claes Oldenburg, Soft Toilet, 1966 Dormeyer
Mixer,1965
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Oldenburg, Giant Lipstick, erect (left) and limp
(center), Yale University, 1969. Anti-Vietnam
war
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Niki de Saint-Phalle, Hon ("She" in Swedish),
1966. 6 ton colossus (82'/20'/30'). With Jean
Tinguely and Per Olaf Ultvedt as a temporary
installation at the Moderne Museet, Stockholm.
One of a series of Nana sculptures
The Carnivalesque
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Edward Kienholz (US, 1927-1994), Back Seat Dodge
38 (two views), 1964, tableau with truncated
Dodge and mixed materials (plaster casts, beer
bottles, chicken wire, artificial grass, etc.)
Los Angeles Funk
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Wayne Thiebaud (US, b. 1920), Five Hot Dogs,
1961, o/c, 18 x 24 in, Whitney MAA. Thiebaud
earned a BA degree from Sacramento State College
in 1941 an M.A. degree in 1952. Thiebauds Pop
work was in The New Realist show at Sidney Janis
(1962 NYC) with other major figures associated
with Pop, New Realism, and Gutai
In 1961 Thiebaud met and became friends with
major NYC gallerist, Allan Stone (19322006
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Wayne Thiebaud, Boston Cremes, 1962, 14 x 18 in. 
In 1962 Thiebaud was included, along with Roy
Lichtenstein, Andy Warhol, Jim Dine, Phillip
Hefferton, Joe Goode, Edward Ruscha, and Robert
Dowd, in the historically important and
ground-breaking New Painting of Common Objects,
curated by Walter Hopps at the Pasadena Art
Museum and one of the first Pop Art exhibitions
in America.
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Robert Arneson, Typewriter, 1966, glazed ceramic,
around 6 x 11 x 12 in.UC Berkeley Art Museum
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Robert Arneson, John with Art, 1964, glazed
ceramic with polychrome epoxy, life size, Seattle
Art Museum, gift of Manuel Neri
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Robert Arneson, ceramic sculpture California
Artist, 1982, on display in front of his studies
for the sculpture, Museum of Modern Art, San
Francisco
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Joan Brown (US, 1938-1990), Fur Rat, 1962, wood,
chicken wire, plaster, string, raccoon fur, and
nails, 20 x 54 x 14 in. University of California,
Berkeley Art Museum, Bay Area Funk (Beat)
Joan Brown c.1960

• Like other artists of San Francisco's Beat
  movement, Brown's work of the late 1950s and
  early 1960s incorporates everyday materials
  assembled into new and provocative forms. "There
  was a rebellion against the slicker materials
  and a delight taken in using rattier materials.
  The rattier the better. Here, Brown has covered
  a wooden armature with fur from an old fur coat
  to depict an oversized rat with a menacing tail -
  an image from one of her dreams. BAMPFA

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Joan Brown (left) Wolf in Studio, enamel on
masonite, 90 x 48, 1972, Crocker MA,
Sacramento(right) Self Portrait with Cat and
Fish, 1970
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Ed Ruscha (US, based in Los Angeles, b. 1937),
Standard Station, Amarillo, Texas, 1963, oil on
canvas, 5ft 5 in x 10 ft/ Pop and Minimalism/
CA car cultureIn 1962 Ruscha was included,
along with Lichtenstein, Warhol, Thiebaud, et al,
in the groundbreaking "New Painting of Common
Objects," curated by Walter Hopps at the Pasadena
Art Museum. Ruschas first solo exhibition was in
1963 at the Ferus Gallery in LA.
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Ed Ruscha, Flying A, Kingman, Arizona, from
Twentysix Gasoline Stations, 1963, photographic
book, sold for 3.50 (An original signed copy is
now worth up to 35,000.) Minimalist and
California Pop (anti)aesthetic serial repetition
and deadpan view of contemporary reality.
Book cover
http//www.sfmoma.org/multimedia/videos/202
Ruscha on his art (1 minute)
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Ansel Adams, Grand Tetons and the Snake River,
1942
Rushas road trip, California gtltOklahoma
Albert Bierstadt, The Rocky Mountains, 1863
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Ralph Goings, 2011 exhibition poster,
Airstream,1970, oil on canvas, 60 x 85 in. MUMOK,
Museum Moderner Kunst Stiftung Ludwig Vienna
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Chuck Close (US, 1940) Self-Portrait, 1967-8,
acrylic on canvas, c. 9 x 6 ft., Walker Art
Center, Minneapolis.
http//youtu.be/zmEf7MKDFd4
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Duane Hanson (US, 19251996), Woman with Dog,
1977, cast polyvinyl polychromed in synthetic
polymer, with cloth and hair, 46 48 51 in.
overall. Whitney Museum of American Art, New York