Postmodernism and Consumerism Essay

2104 Words 9 Pages
Abstract
This essay employs a visual analysis to compare and contrast Andy Warhol’s ‘Blue Marilyn’ with Roy Lichtenstein’s ‘In the Car’ in association to the postmodernist theme of Consumer Culture and more explicitly, the introduction of Pop Art, born from post-war consumerist societies. The argument refers to eight scholarly research sources, three of which are scholarly journal articles.

POSTMODERNITY AND CONSUMERISM:
WIT, INVENTION AND THE AFTERMATH OF WAR

Research Statement: Using a visual analysis, compare and contrast Andy Warhol’s Blue Marilyn with Roy Lichtenstein’s In the Car in association to the postmodernist theme of Consumer culture and more explicitly the introduction of Pop Art; born through post-war
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Likewise, American Pop Artist, Roy Lichtenstein, defined the basic premises of Pop Art through parody, favouring the ideals of comic strips with the belief that the ever-evolving consumer society brought a new meaning to industrial painting.
In pursuit of the artists affiliations concerning the postmodernist theme of Consumer culture, two of their most recognised pieces, Blue Marilyn and In The Car will be compared and contrasted, discussing the visual elements and principles that are indicative of a Consumer culture in each work.
Warhol and Lichtenstein together were heavily influenced by the adapting consumerist culture, as the introduction of advertisement and mass-produced goods precipitously surrounded urban society, thus inclosing them into the indulgences of consumerism despite their intentions. In reaction to the booming consumerist market, they provided a mutual response to the post-war propagation of mass produced goods such as household appliances, the automobile, packaged products and the growth of popular entertainment, similarly sharing associative traits and visual outcomes through comparable characteristics, aesthetics and practices to thus exhibit an interest in the growth of consumerism. They together exploited new interpretations of pre-existing figures of advertisement and popular culture through appropriation, formal qualities and sign-values as characterised by Jean Baudrillard.
A key common resemblance

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