Pop art - en

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INTRODUCTION

The appearance of Pop Art in Great Britain and the United States, in the mid 1950s and early 1960s respectively, marked the advent of a reevaluation of traditional notions of the artist’s hand and the discrete object. Taking up the ideas of Dada-an early twentieth century art movement that used irony and found objects in the service of cultural critique - the pop artists expanded the definition of the art object by exploring the image world of popular culture and the concomitant growth of mass reproduction.

A number of the artists who emerged, or more appropriately, burst upon the art world, particularly in New York and Los Angeles in the first years of the 1960s, were responding to society’s new commercialism. Indeed those who came to be identified as Pop artists embraced consumerism as a fitting subject of their art. Expression and gesture-hallmarks of Abstract Expressionism which preceded Pop in the late 1940s and early 1950s - were replaced with cool, detached, mechanical illustrations of common objects, often based on appropriated advertising images. Pop art was in fact proposing a new kind of subjectivity, one that did not rely on an artist’s singular expressive gesture, the main d’artiste. While many of the Abstract Expressionists had turned hermetically inward, the Pop artists turned outward for aesthetic stimuli. Radically redefining the subject matter deemed suitable for aesthetic use, Pop art was a significant sociological phenomenon and a mirror of society. In turn, the consumer industry itself adopted Pop art as an antidote to the rigidity of High Art. Pop, which came to encompass the fields of music, consumer design, and fashion, corresponded to an entire way of life among young people in the 1960s...



INTRODUCTION 3
1 POP ART 4
1.1 Discovery of the American Pop Art Movement 4
1.2 "Pop" as a Term 5
1.3 The New York Christening 8
1.4 Public Exposure to the Art 9
1.5 Early Definitions of the Mode's Substance 10
1.6 Retrospective Catalogues 12
1.7 The Challenge of Pop Art 15
CONCLUSION 17
REFERENCES 18