55
ART 271 Ch. 19 Pop Art

Art 271 Pop Art

Embed Size (px)

DESCRIPTION

 

Citation preview

Page 1: Art 271 Pop Art

ART 271Ch. 19 Pop Art

Page 2: Art 271 Pop Art

LOOKING AHEAD

Today: Lecture on Assemblage, Happenings, Pop Art: Ch. 19

Tues. 11/17: Film: Andy Warhol. Also, discussion about MAG Paper due Thurs. Dec. 3rd

Thurs. 11/19: Ch. 20, Sixties Abstraction: Minimalism

REMINDER: NO CLASS WEEK OF NOV 24

Page 3: Art 271 Pop Art

1950s & 1960s Beat Background Assemblage Happenings Pop Art

Page 4: Art 271 Pop Art

HISTORICAL BACKGROUND: 1950S CONVENTIONAL AMERICA: EMPHASIS ON THE NUCLEAR FAMILY: TV’S ‘LEAVE IT TO BEAVER’

Page 5: Art 271 Pop Art

1950S BEAT GENERATION BACKGROUND

“I saw the best minds of my generation destroyed by madness, starving hysterical naked.”

– Howl, 1955

Allen Ginsberg, Howl, 1955

Page 6: Art 271 Pop Art

1950S BEAT CULTURE BACKGROUNDON THE ROAD, 1957

For: Jazz Zen Buddhism Experimentation

Against: Conformity Materialism Mainstream

Page 7: Art 271 Pop Art

ART MOVEMENT: ASSEMBLAGE (ALSO CALLED NEO-DADA)

Artists gather seemingly random objects and put them together in unruly compositions to see what kind of meanings might emerge

Emphasis on everyday surroundings for subject matter

Create their works from the “refuse” of modern society

Artists: Robert Rauschenberg, Jasper Johns Influences: Composer John Cage, Artist Marcel

Duchamp (Dada)

Page 8: Art 271 Pop Art

MORRIS LOUIS, SARABAND, 1959, OVER 8’ X 12’

Page 9: Art 271 Pop Art

ROBERT RAUSCHENBERG, CANYON, 1959, JASPER JOHNS, THREE FLAGS, 1958, ENCAUSTIC ON CANVAS

Page 10: Art 271 Pop Art

MARCEL DUCHAMP, BICYCLE WHEEL, 1913 & FOUNTAIN, 1917 READYMADES

Page 11: Art 271 Pop Art

JOHN CAGE, 1952

composer known for 4’ 33” – silent piece

Page 12: Art 271 Pop Art

ROBERT RAUSCHENBERG (1925-2008)

Page 13: Art 271 Pop Art

19.28, ROBERT RAUSCHENBERG, BED, COMBINE PAINTING: OIL AND PENCIL ON PILLOW, QUILT, AND SHEET ON WOOD SUPPORTS, MOMA

“Combine” – combination of painting and sculpture

Page 14: Art 271 Pop Art

19.29, ROBERT RAUSCHENBERG, MONOGRAM, 1955-59COMBINE - COMBINATION OF PAINTING & SCULPTURE

Page 15: Art 271 Pop Art

19.30, ROBERT RAUSCHENBERG, ESTATE, 1963. OIL ON SILKSCREEN INK ON CANVAS, 8’ X 5’10”

Page 16: Art 271 Pop Art

JASPER JOHNS (B. 1930)

Page 17: Art 271 Pop Art

ASSEMBLAGE

Both Johns and Rauschenberg move away from individual personal expression and fixed identity associated with Abstract Expressionism toward an identity shaped by factors from the outside environment.

Page 18: Art 271 Pop Art

19.31, JASPER JOHNS, FLAGS, 1954-55. ENCAUSTIC OIL AND COLLAGE ON FABRIC MOUNTED ON PLYWOOD. MOMA

Page 19: Art 271 Pop Art

19.32, JASPER JOHNS, TARGET WITH PLASTER CASTS, 1955. ENCAUSTIC AND COLLAGE ON CANVAS WITH WOOD CONSTRUCTION AND PLASTER CASTS. 51 X 44 X 3 ½ INCHES

Page 20: Art 271 Pop Art

ART MOVEMENT: HAPPENINGS

Purpose: to call into question the idea that a work of art was an enduring record of artistic genius

Sought to integrate art with life and extend art into a theatrical situation

Approach: Ephemeral works; chance; mixed media

**Audience is necessary to “activate” the work of art

Influenced by: John Cage Dadaism (Duchamp) Action Painting

Artist: Allan Kaprow

Page 21: Art 271 Pop Art

HAPPENINGS, ALLAN KAPROW, YARD, 1961

Early to mid 1960s

Name Happening from Allan Kaprow’s 1st show at N.Y.’s Reuben Gallery 1959.

Page 22: Art 271 Pop Art

HANS NAMUTH, JACKSON POLLOCK AT WORK, 1950

Page 23: Art 271 Pop Art

ALLAN KAPROW, YARD, 1961, HAPPENING: ENVIRONMENTAL ARTWORK ACTIVATED BY PERFORMERS & VIEWERS.

Page 24: Art 271 Pop Art

19.36, ALLAN KAPROW, PHOTOGRAPH FROM HOUSEHOLD, A HAPPENING COMMISSIONED BY CORNELL UNIVERSITY, 1964

Page 25: Art 271 Pop Art

ART MOVEMENT: POP ART (1960S)

Backdrop was rise of consumer culture/ advertising/ celebrity

Pop Art was the union of art and popular culture. They embraced mass culture

Deal with the “new”, the “store-bought”

Pop artists borrowed images that were mass produced and made them repetitive

British Pop Art came first: Richard Hamilton American Pop Art: Claes Oldenburg, Roy Lichtenstein, Andy

Warhol

Page 26: Art 271 Pop Art

POP ART

Pop artists made an effort to make viewers aware of the extent to which advertising and the production/consumption cycle dominated everyday life

America’s shared knowledge no longer came from “high culture” sources like literature, mythology, or religion, but rather from television, movies, and advertisements. Pop artists reflected this by blurring the distinction between art and consumption.

The movement examined the effects of consumerism on human thought, emotion, and creativity. It posed the question: what is more important, the thing or its image?

Page 27: Art 271 Pop Art

BRITISH POP

Page 28: Art 271 Pop Art

19.19, RICHARD HAMILTON, JUST WHAT IS IT THAT MAKES TODAY’S HOMES SO DIFFERENT, SO APPEALING?, 1956, COLLAGE, 10” X 9”

Page 29: Art 271 Pop Art

1960SAMERICAN POP

Page 30: Art 271 Pop Art

CLAES OLDENBURG, SOFT TYPEWRITER, 1963

Page 31: Art 271 Pop Art

CLAES OLDENBURG SOFT PAY TELEPHONE, 1963

“Basically collectors want nudes…so I have supplied for them nude cars, nude telephones, nude electric plugs, nude switches…”

Page 32: Art 271 Pop Art

19.41, CLAES OLDENBURG, THE STORE, 1961

Page 33: Art 271 Pop Art

CLAES OLDENBURG, INSTALLATION, GREEN GALLERY, NY, 1962

Page 34: Art 271 Pop Art

19.43, CLAES OLDENBURG, GEOMETRIC MOUSE, SCALE A, 1969-71, ALUMINUM, STEEL, AND PAINT, 12’ TALL, WALKER ART CENTER, MINNEAPOLIS

Page 35: Art 271 Pop Art

23.21, CLAES OLDENBURG, BATCOLUMN, 1977, CHICAGO

Page 36: Art 271 Pop Art

23.22, CLAES OLDENBURG, SPOONBRIDGE AND CHERRY, 1985-88. ALUMINUM, STAINLESS STEEL, AND PAINT. WALKER ART CENTER, MINNEAPOLIS

Page 37: Art 271 Pop Art

ROY LICHTENSTEIN (1923-1997)PHOTO: 1985

Page 38: Art 271 Pop Art

ROY LICHTENSTEIN, OH, JEFF…I LOVE YOU, TOO…BUT.., 1964, 48” X 48”

Page 39: Art 271 Pop Art

ROY LICHTENSTEIN, BLAM, 1962

Page 40: Art 271 Pop Art

ROY LICHTENSTEIN, IMAGE DUPLICATOR, 1963

Page 41: Art 271 Pop Art

MORRIS LOUIS, SARABAND, 1959, OVER 8’ X 12’ LICHTENSTEIN, OK HOT SHOT, 1963

Page 42: Art 271 Pop Art

ANDY WARHOL (1928-1987) SELF PORTRAIT, 1960

Page 43: Art 271 Pop Art

ANDY WARHOL, SELF PORTRAIT, 1967

If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am…There’s nothing behind it.-Warhol

Page 44: Art 271 Pop Art

ANDY WARHOL, UNTITLED (SHOES), 1956

Page 45: Art 271 Pop Art

ANDY WARHOL, ROLL OF BILLS, 1962

Page 46: Art 271 Pop Art

ANDY WARHOL, 32 CAMPBELL’S SOUP CANS, 1961-2, ACRYLIC ON CANVAS, EACH 20 X 16”

Page 47: Art 271 Pop Art

19.58, ANDY WARHOL, INSTALLATION VIEW OF CAMPBELL’S SOUP CANS, FERUS GALLERY, LOS ANGELES, 1962

Page 48: Art 271 Pop Art

19.57, ANDY WARHOL, 210 COKE BOTTLES, 1962

“A coke is a Coke & no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good”

Page 49: Art 271 Pop Art

ANDY WARHOL, AMBULANCE DISASTER, 1963

Page 50: Art 271 Pop Art

ANDY WARHOL, BLACK AND WHITE DISASTER, 1962

“The more you look at the same exact thing, the more the meaning goes away, and the better & emptier you feel”.-Warhol

Page 51: Art 271 Pop Art

ANDY WARHOL, ELECTRIC CHAIR, 1964

Page 52: Art 271 Pop Art

ANDY WARHOL, BIRMINGHAM RACE RIOT, 1964

Page 53: Art 271 Pop Art

ANDY WARHOL, THE WEEK THAT WAS, 1963

Page 54: Art 271 Pop Art

19.59, ANDY WARHOL, MARILYN MONROE, 1962, SILKSCREEN INK ON SYNTHETIC OIL, ACRYLIC, AND SILKSCREEN ENAMEL ON CANVAS, 20 X 16”

Page 55: Art 271 Pop Art

ANDY WARHOL, MONROE DIPTYCH, 1962