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21 Cards in this Set
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Pop Art: Origins |
•Pop art = popular culture art •Pop art origins in England (1950s) |
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*Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956. Collage, 10.25 in ×9.75 in. Kunsthalle Tübingen, Germany. •Small collage, done for catalogue of “This is Tomorrow” exhibition •Pop due to: popular culture imagery from American Pop culture, images taken from American magazines (advertising (Hamilton had an advertising background)), comics, etc •Pokes light-hearted fun; like DADA in absurd combinations, comment on culture (but not as critical) |
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Richard Hamilton |
•British, 1922-2011 •Father of Pop |
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Neo-Dada in the United States |
•Neo-Dada in the U.S.(Origins of Pop Art) •Reaction to abstraction of 50s and 60s •Percursors in 1950s: Robert Rauschenberg and Jasper Johns •Heyday for pure Pop Art: 1960s;criticized severely by critics (especially the formalists who loved Abstract Expressionism and Second Generation Color Field art) for panderingto lowbrow taste of public |
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Robert Rauschenberg |
•American, 1925-2008 •Not just Pop, work also had conceptual, performance, new media, and minimalist approaches •Study at BlackMountainCollege, NorthCarolina •Collaborated with composer John Cage |
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*Robert Rauschenberg. Erased de Kooning Drawing. 1953 •Conceptualwork |
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*Robert Rauschenberg. Bed. 1955 Combine painting, 6'2" x 31 1/2" x 6 1/2". Mr and Mrs Leo Castelli, New York •Rauschenberg called works like these "combines" •Common everyday object (quilt and pillow from his own bed) •Combined with Abstract Expressionist Action Painting-like application |
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*Robert Rauschenberg. Monogram. 1955-9. Freestanding combine, 42 x 64 x 64 1/2 in. Moderna Museet, Stockholm •Freestanding Combine painting (combines sculpture, painting, found objects -angora goat) •This is 3rd and final stage; 1st stage: goat attached to vertical painted support, 2nd stage: goat on ledge extending from vertical support •Called horizontal area a “pasture” for the goat |
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#Rauschenberg. Estate. 1963. Oil andsilkscreen ink on canvas |
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Silkscreens |
•Like many Pop artists began using silk screen •Used photographic process to enlarge or reduce images, then transferred to silk screen, then screened to canvas •Some images taken by Rauschenberg, others appropriated •Result:hodge-podge of imagery (Dada-like absurdity, indeterminate meaning, but definite associations with the imagery) |
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Jasper Johns |
•American, 1930 •More of a precursor to Pop than was Rauschenberg •Some aspects (painterliness) of Abstract Expressionism, also Pop elements •Common subjects: American flag, targets, letters, numbersUsing common objects gives Johns freedom to concentrate on other things (paint application mainly).John’s once said he liked to work with “things the mind already knows. That gives me room to work on other levels.” |
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*Jasper Johns, Flag. 1954-55. Encaustic, oil and collage on fabric mounted on plywood, 42 1/4 x 60 5/8 in. MoMA, NY •Encaustic medium (pigments in wax) •Image from pop culture, painterly application •Real, yet unrealistic in rigidity •Influence of DADA in elevating commonplace objects to high art (in the use of ready-made image) |
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*Jasper Johns, Target with Four Faces. 1955. Encaustic and collage on canvas with plaster casts, 29 3/4 x 26 x 3 3/4 in. (75.5 x 71 x 9.7cm.) •Mixed media, partly an assemblage •Encaustic medium (pigment in wax) •Sense of vulnerability (suggested by target, suggestion of firing squad) |
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# Jasper Johns, Painted Bronze (Beer Cans). 1960. Painted bronze, 14 x 20.3 x 12.1 cm (5 1/2 x 8 x 4 3/4").Kunstmuseum Basel •Inspired by comment by Willem de Kooning that their dealer, Leo Castelli, “could sell anything [as art], even a can of beer.” •Cast to great extent from actual beer cans •Pop in that it’s inspired by popular culture, but obviously not beer cans (in bronze) --so not pure Pop Art. |
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Environments |
•Space defined by an artist, usually includingmade and/or found objects •Today, the term installation is used |
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George Segal |
•Environment •American, 1924-2000 •Became famous with his plaster sculptures, made with plaster-soaked gauze used to set broken bones •Segal would usually use the molds (made from models) themselves for the sculpture rather than casting into the molds •He placed these stark white figures in environments |
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*George Segal, Gas Station. 1963 •Plaster figures in env with actual objects •Figures made of plaster strips meant for setting bones; used actual mold •Results in ghost-like figures •Lack of detail, the white color, black background, strong lighting create sense of isolation, and also here separation |
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Edward Kienholz |
•Edward KienholzAmerican, 1927-1994 •Work socially-minded (strong statements about society, its failure to help people, particularly the down-and-out and the helpless) •Subjects have included street bums, hospital rooms, abortion •Impoverished childhood likely influenced his work |
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*Edward Kienholz, The State Hospital. 1964-65. •Mixed media environment •Shows artist’s social concern •Grotesque figures (skinless?), fish bowls for heads (lobotomy?), chained to beds, bed pan. •Actual hospital odor when 1st exhibited •Conveys inhumane treatment of mental patients |
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Marisol Escobar |
•Environments Venezuelan, lives in U.S.,b. 1930 •Known for her environments with block-like figures •W/ paper cut-out-like application, often used various materials (e.g., carved wood, painted wood, plaster casts, photographs, cloth) •Combination 3-D and 2-D |
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*Marisol, The Cocktail Party. 1965-66. •Assemblage of 15 free-standing figures and wall panel with painted wood, cloth, plastic, shoes,jewelry, mirror, television set and other accessoriesblock-like figures •Paper cut-out-like application, often used various materials (e.g., carved wood, painted wood, plaster casts, photographs,cloth) •Combo of 3-D and 2-D •Makes light-hearted fun of parties of the rich |
