quiz3 - pop art makes ordinary/cliche monumental distance...

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pop art: makes ordinary/cliche monumental distance from source democratizer with mass production and duplication minimalism: rejection of order (1960’s with dramatic social upheavel) lurking romanticism to technology and industrial not materials or art history sources are clear objects to encounter, physical interaction simplicity of work, yet complexity of written compositions process art gravity, entropy seek inherent relation to physicality of existing units material dictates form become aware of meaning through process shifting processes to see full form Warhol- POP ART - begin as graphic arts designer - gets to top of advertising world, yet too much process and decision - exhibited in Ferus Gallery in 1962 1968: Campbell’s Soup/Coca Cola - Had this for lunch everyday, biographical route - Democracy, everyone has same quality 1962: Marilyn - parable: what does fame do to/for people? - Mass produced, serial presentation of object - Fame causes individual to deteriorate - Gold leaf in religious icons 1963: Mustard Race Riot/Saturday Disaster - monochrome - dialogue: tragedy, ecstacy doom - from fame to anonymity - ordinary people dying 1964: Wanted Men/Portrat - very public venue in NYC - grid form - Robert Moses says criminals cannot be shown as face of NYC o Covers it with aluminum paint Monochrome: huge mirror - desire to know more as audience sexual, social, etc. - participating in mass media - included himself in criminalized community Movie in 1963 contrived, acting but not by keeping camera stationary also way it is filmed—amateur and artificial bad home video vs. royal family portrait overtly sexual tone with phallic fruit (apple sin, banana penis) Warhol’s family, not usual family portrait Lichenstein- POP ART - mid-west trained artist - taught at Rutgers (Kaprow) - fluxus, like everyday life 1962: abstracts golfball by taking brand name off - neo-classical sublime--- making it an icon o like Mondrian Composition with Lines 1917 - using material that is already old - “take a cliché and organize its forms to make it monumental” - cleans up her hair and lips, gets rid of narrative and condenses
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o Hokusai The Great Wave 1965: brushstroke was basic approach applied to AbEx o like Dekooning, Rauschenberg, Twombly analyzing mark of signature gesturism - doubly distant from source: not from paint, but from comic books o pop culture representation of AbEx - can see dots: machinery of comic book representation - reproducing another form of technology - synthetic paints Two responses to Lichenstein and pop: Opposition: Selz: pop has nothing to say, void of commentary Proponent: Judd: introduced new ways of being raw , radical Oldenburg- POP ART - born in Stockholn - “I am for an Art” 1961 liberating, interactive 1961: Lower East Side, shop in shopping neighborhood - All done with chicken wire and paper mache
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quiz3 - pop art makes ordinary/cliche monumental distance...

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