Pop Art (Art of Century)
Format: PDF / Kindle (mobi) / ePub
This book offers a radically new perspective on the so-called Pop Art creative dynamic that has been around since the 1950s. It does so by enhancing the term Pop Art which has always been recognised as a misnomer, for it obscures far more than it clarifies. Instead, the book connects all the art in question to mass-culture which has always provided its core inspiration. Above all, the book suggests that this Mass-Culture Art has created a new Modernist tradition which is still flourishing. The book traces that tradition through the forty or more years since Pop/Mass-Culture Art first came into being in the 1950s, and locates it within its larger historical context. Naturally the book discusses the major contributors to the Pop/Mass-Culture Art tradition right up to the present, in the process including a number of artists who have never previously been connected with so-called Pop Art but who have always been primarily interested in mass-culture, and who are therefore partially or totally connected with Pop/Mass-Culture Art. The book reproduces in colour and discusses in great detail over 150 of the key works of the Pop/Mass-Culture Art tradition. Often this involves the close reading of images whose meaning has largely escaped understanding previously. The result is a book that qualitatively is fully on a level with Eric Shanes's other best-selling and award-winning writings.
11/21/2008 2:20 PM Page 3 Eric Shanes Pop Art AC Pop Art 4C.qxp 11/24/2008 4:29 PM Page 4 AC Pop Art 4C.qxp 11/21/2008 2:21 PM Page 5 CONTENTs Foreword 7 Pop / Mass-Culture Art 9 The Plates 71 Selected Bibliography 197 Index 198 5 AC Pop Art 4C.qxp 6 11/21/2008 2:21 PM Page 6 AC Pop Art 4C.qxp 11/21/2008 2:21 PM Page 7 foreword S ince the late-1950s a new tradition has emerged in Western art. Although its initial phase lasting between about 1958 and 1970
and participated in the 1962 ‘New Realists’ exhibition, in which he displayed a ceramic washbasin attached to a canvas, a panel of bathroom fixtures, a painting with a lawnmower attached, and a canvas supporting five feet of coloured hand tools (page 91). Yet Dine very speedily disassociated himself from ‘Pop Art’, and he was quite right to do so, for rather than address any aspects of popular mass-culture, Thief of 1980 (pages 162-3), which acts as a metaphor for the earth in space; and by 4
lights be dimmed), and that Harold has forgotten to turn them off in his sexual eagerness, but also that the couple are all lit up by their sexual arousal. Naturally, by giving his car a working radio and lights, Kienholz suggested that Harold has recently driven here. Yet simultaneously the sculptor further ignored the constraints of time, for by placing the partially wheel-less vehicle on artificial grass he equally suggested it has been abandoned in a field somewhere. This ensemble was first
Smith College, Northampton, Massachusetts between 1964 and 1968, during which time she spent her junior year at the Sorbonne and at the École du Louvre in Paris. She then attended graduate school at the Universit y of Iowa, f rom where she graduated in 1972. That same year she moved to New York where she worked through the rest of the decade as a conceptual artist. By the end of that period her work had come into more concrete focus, and she caused quite a stir with her installations/photographs
productiveness and wastefulness, energy and ambition, and inventiveness and destructiveness of modern man. The work demonstrates most vividly how the concern with contemporary life as expressed through its mass-produced artefacts still flourishes long after it first surfaced artistically in the late-1950s. What better monument could there be to the twentieth century, the most brutal and yet most affluent period in history to date? Olafur Eliasson, The Weather Project, temporary site-specific