9780714862439: Pop Art
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| SKU | 9780714862439 |
|---|---|
| Title | Pop Art |
| Author Description | Bradford R. Collins |
| Uri | store/art/pop-art-9780714862439/ |
| Web Author Description | Bradford R. Collins, who teaches at the University of South Carolina, received his Ph.D. in art history from Yale University. His early work on nineteenth-century French art culminated in 12 Views of Manet’s ‘Bar’ (Princeton, 1996). His recent writing has focused on American art following World War II, particularly Abstract Expressionism and Pop. Bradford R. Collins, who teaches at the University of South Carolina, received his Ph.D. in art history from Yale University. His early work on nineteenth-century French art culminated in 12 Views of Manet’s ‘Bar’ (Princeton, 1996). His recent writing has focused on American art following World War II, particularly Abstract Expressionism and Pop. |
| webLongDescription | Pop art arose in the 1960 in the major art capitals of America and Europe, revolutionary in its celebration of popular or mass culture. Artists such as Seurat, Toulouse Lautrec, Stuart Davis and Willem De Kooning had been interested in integrating popular imagery in their art, but they had transformed their source material into their own art – Pop artists let their sources speak louder than their art. Roy Lichtenstein’s paintings based on comic books, Andy Warhol’s on film stars, James Rosenquist’s after billboards and PeterBlake’s inspired by record albums celebrate their sources with the subtlest transformation into art. They keep both the subject and the stylistic devices of their sources, or allow the source imagery to be more apparent than the creative reworking by the artist.
This book presents the most important works of the movement, as well as explaining in what sense Pop was, and still is, a movement. Several unjustly neglected women artists are brought to the fore and the meaning of Pop’s revolution is examined through the decades, across Europe and the US. Crucial for the artworks explored, the source materials of consumer culture and popular entertainment are also illustrated and Collins shows how they were used by artists to make their works. Indeed, the relationship between popular culture and Pop Art is explored from all angles, discussing its interpretation as critique or celebration of consumerism, mass production and contemporary graphic art; whether Pop is simply another manifestation of popular culture or subversive criticism of it.
Here Collins argues that although the focus of much Pop art was popular culture, some of the artists’ responses were critical, some complicit and some ambiguous. And Pop artists also dealt with an extraordinary range of other individual, artistic and historical issues – from sex, love and death to aesthetics, from the Civil Rights Movement and the Vietnam War to feminism. Pop art was more of a mode, a way of making art than a movement in the narrow, strictest sense, and here Collins shows how artists were not constrained by shared values, as previous movements, but free of a heterogenity that has since been assumed. Pop was a watershed development in modern art because it represents the moment when large numbers of artists acknowledged that the media imagery of mainstream capitalist culture, from advertising to comics to movies, had become, whether they liked it or not, the stuff of their consciousness. Whereas the artists of the Renaissance, for example, had been steeped in Classical history, mythology and the Bible, the artists of the modern era had been progressively schooled in the visual imagery of mass culture, which thus formed the chief substance of their own internal image banks. Rather than resist the flotsam and jetsam floating around inside their minds in search of some pure, uncontaminated language that might wash it away, as so many of their avant-garde forebears from Kandinsky to the Surrealists to the Color Field painters had done, the Pop artists accepted it.
The first two chapters of this book deal with the origins
of the movement in Britain, with such artists as Richard Hamilton and Eduardo
Paolozzi, and the US with the background of Abstract Expressionism and artists
who opposed it, including Jasper Johns and Robert Rauschenberg. Chapters 3 and
4 provide monographic studies of the two most important American Pop artists,
Lichtenstein and Warhol. Chapter 5 focuses on seven artists, including James Rosenquist, Claes Oldenburg and Martha Rosler, who used the materials of popular culture to promote the progressive social causes identified with the 1960s: the Civil Rights Movement, the bohemian struggle against the repressive cultural standards of the era, the fledgling movement for gay rights, the opposition to the Vietnam War and an emerging brand of feminism. The following chapter deals with the distinct brands of American Pop produced in art centres outside New York: the Hairy Who and Ed Paschke in Chicago, artists such as Ed Ruscha and Vija Celmins in Los Angeles and a painterly brand of Pop in the work of Wayne Thiebaud and Mel Ramos in San Francisco. In the context of the American sexual revolution that occurred following World War II, Chapter 7 focuses on the work of three men – Mel Ramos, Tom Wesselmann, and John Wesley – and two women – Marisol and Rosalyn Drexler – who either specialized in the theme or treated it extensively. The next two chapters deal with developments in Western Europe – the second phase of British Pop that emerged in the work of Peter Blake and Richard Smith, and Allen Jones, Derek Boshier, Pauline Boty, Patrick Caulfield and others, and the Pop work produced in continental Europe, especially France and Germany, during the post-war economic recovery, in reaction to the prevailing abstract modes of the 1950s and under the influence of both British and American examplesartists including Jacques de la Villeglé, Martial Raysse, Erró, Öyvind Fahlström, Evelyne Axell, Gerhard Richter and Sigmar Polke. The decline of Pop in the early 1970s is dealt with in Chapter 10, which left only the five canonical American pioneers and a handful of artists in Europe to define the movement’s late phase, before the unexpected revival of the Pop around 1980 is discussed in the last chapter. Works by John Baldessari and the Artists Space in New York, the Commodity artists Jeff Koons, Haim Steinbach and Ashley Bickerton, Cindy Sherman, Barbara Kruger, Jenny Holzer, Victor Burgin, the Sots artists in Russia, and Keith Haring, all developed different strands of Pop, and many more artists working on through the 1990s. |
| Binding | Paperback |
| Size | Size: 220 x 160 mm (8 5/8 x 6 1/4 in) |
| Pages | Pages: 448 |
| Illustrations | 250 |
JSON Data
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Collins, who teaches at the University of South Carolina, received his Ph.D. in art history from Yale University. His early work on nineteenth-century French art culminated in \u003ci\u003e12 Views of Manet’s ‘Bar’ \u003c/i\u003e(Princeton, 1996). His recent writing has focused on American art following World War II, particularly Abstract Expressionism and Pop. Bradford R. Collins, who teaches at the University of South Carolina, received his Ph.D. in art history from Yale University. His early work on nineteenth-century French art culminated in \u003ci\u003e12 Views of Manet’s ‘Bar’ \u003c/i\u003e(Princeton, 1996). His recent writing has focused on American art following World War II, particularly Abstract Expressionism and Pop.","webDescription":"","webKeywords":"","webLongDescription":"\u003cp\u003ePop art\r\narose in the 1960 in the major art capitals of America and Europe,\r\nrevolutionary in its celebration of popular or mass culture. Artists such as\r\nSeurat, Toulouse Lautrec, Stuart Davis and Willem De Kooning had been\r\ninterested in integrating popular imagery in their art, but they had\r\ntransformed their source material into their own art – Pop artists let their\r\nsources speak louder than their art. Roy Lichtenstein’s paintings based on\r\ncomic books, Andy Warhol’s on film stars, James Rosenquist’s after billboards\r\nand PeterBlake’s\r\ninspired by record albums celebrate their sources with the subtlest\r\ntransformation into art. They keep both the subject and the stylistic devices\r\nof their sources, or allow the source imagery to be more apparent than the\r\ncreative reworking by the artist.\u003c/p\u003e\r\n\r\n\u003cp\u003e \u003c/p\u003e\r\n\r\n\u003cp\u003eThis book\r\npresents the most important works of the movement, as well as explaining in\r\nwhat sense Pop was, and still is, a movement. Several unjustly neglected women\r\nartists are brought to the fore and the meaning of Pop’s revolution is examined\r\nthrough the decades, across Europe and the US. Crucial for the artworks\r\nexplored, the source materials of consumer culture and popular entertainment\r\nare also illustrated and Collins shows how they were used by artists to make\r\ntheir works. Indeed, the relationship between popular culture and Pop Art is explored\r\nfrom all angles, discussing its interpretation as critique or celebration of\r\nconsumerism, mass production and contemporary graphic art; whether Pop is\r\nsimply another manifestation of popular culture or subversive criticism of it.\u003c/p\u003e\r\n\r\n\u003cp\u003e \u003c/p\u003e\r\n\r\n\u003cp\u003eHere Collins argues that although the focus of much Pop\r\nart was popular culture, some of the artists’ responses were critical, some\r\ncomplicit and some ambiguous. And Pop artists also dealt with an extraordinary\r\nrange of other individual, artistic and historical issues – from sex, love and\r\ndeath to aesthetics, from the Civil Rights Movement and the Vietnam War to\r\nfeminism. Pop art was more of a mode, a way of making art than a movement in\r\nthe narrow, strictest sense, and here Collins shows how artists were not\r\nconstrained by shared values, as previous movements, but free of a heterogenity\r\nthat has since been assumed. Pop was a watershed development in modern art\r\nbecause it represents the moment when large numbers of artists acknowledged\r\nthat the media imagery of mainstream capitalist culture, from advertising to\r\ncomics to movies, had become, whether they liked it or not, the stuff of their\r\nconsciousness. Whereas the artists of the Renaissance, for example, had been\r\nsteeped in Classical history, mythology and the Bible, the artists of the\r\nmodern era had been progressively schooled in the visual imagery of mass\r\nculture, which thus formed the chief substance of their own internal image\r\nbanks. Rather than resist the flotsam and jetsam floating around inside their\r\nminds in search of some pure, uncontaminated language that might wash it away,\r\nas so many of their avant-garde forebears from Kandinsky to the Surrealists to\r\nthe Color Field painters had done, the Pop artists accepted it. \u003c/p\u003e\r\n\r\n\u003cp\u003e \u003c/p\u003e\r\n\r\n\u003cp\u003eThe first two chapters of this book deal with the origins\r\nof the movement in Britain, with such artists as Richard Hamilton and Eduardo\r\nPaolozzi, and the US with the background of Abstract Expressionism and artists\r\nwho opposed it, including Jasper Johns and Robert Rauschenberg. Chapters 3 and\r\n4 provide monographic studies of the two most important American Pop artists,\r\nLichtenstein and Warhol. \u003cbr /\u003e\u003c/p\u003e\u003cp\u003e\u003cbr /\u003e\u003c/p\u003e\u003cp\u003eChapter\r\n5 focuses on seven artists, including James Rosenquist, Claes Oldenburg and\r\nMartha Rosler, who used the materials of popular culture to promote the\r\nprogressive social causes identified with the 1960s: the Civil Rights Movement,\r\nthe bohemian struggle against the repressive cultural standards of the era, the\r\nfledgling movement for gay rights, the opposition to the Vietnam War and an\r\nemerging brand of feminism. The following chapter deals with the distinct\r\nbrands of American Pop produced in art centres outside New York: the Hairy Who\r\nand Ed Paschke in Chicago, artists such as Ed Ruscha and Vija Celmins in Los\r\nAngeles and a painterly brand of Pop in the work of Wayne Thiebaud and Mel\r\nRamos in San Francisco. In the context of the American sexual revolution that\r\noccurred following World War II, Chapter 7 focuses on the work of three men –\r\nMel Ramos, Tom Wesselmann, and John Wesley – and two women – Marisol and\r\nRosalyn Drexler – who either specialized in the theme or treated it\r\nextensively. The next two chapters deal with developments in Western Europe –\r\nthe second phase of British Pop that emerged in the work of Peter Blake and\r\nRichard Smith, and Allen Jones, Derek Boshier, Pauline Boty, Patrick Caulfield\r\nand others, and the Pop work produced in continental Europe, especially France\r\nand Germany, during the post-war economic recovery, in reaction to the\r\nprevailing abstract modes of the 1950s and under the influence of both British\r\nand American examplesartists including Jacques de la Villeglé, Martial Raysse,\r\nErró, Öyvind Fahlström, Evelyne Axell, Gerhard Richter and Sigmar Polke. The\r\ndecline of Pop in the early 1970s is dealt with in Chapter 10, which left only\r\nthe five canonical American pioneers and a handful of artists in Europe to\r\ndefine the movement’s late phase, before the unexpected revival of the Pop\r\naround 1980 is discussed in the last chapter. Works by John Baldessari and the\r\nArtists Space in New York, the Commodity artists Jeff Koons, Haim Steinbach and\r\nAshley Bickerton, Cindy Sherman, Barbara Kruger, Jenny Holzer, Victor Burgin, the\r\nSots artists in Russia, and Keith Haring, all developed different strands of\r\nPop, and many more artists working on through the 1990s.\u003c/p\u003e\r\n\r\n\r\n","webReviews":"\u003cp\u003e\u0026quot;There are numerous books that survey Pop art [\u0026#8230;] what does Collins\u0026#8217; book add to the existing discussion? It\u0026#8217;s a brave move by any publisher, but, in fact, Collins\u0026#8217; text skilfully moves through the different eras of Pop starting with its early emergence in 1952 and finishing in 1990... Critically aware, this book offers a historical overview.\u0026quot;\u0026#8212;\u003cem\u003eAesthetica\u003c/em\u003e\u003c/p\u003e\n\n\n\n\u003cp\u003e On the \u003cem\u003eArt \u0026amp; Ideas\u003c/em\u003e series\u003c/p\u003e\n\n\u003cp\u003e\u0026quot;\u003cem\u003eArt \u0026amp; Ideas\u003c/em\u003e has broken new ground in making accessible authoritative views on periods, movements and concepts in art. As a series it represents a real advance in publishing.\u0026quot;\u0026#8212;\u003cem\u003eSir Nicholas Serota, Director, Tate London\u003c/em\u003e\u003c/p\u003e\n\n\u003cp\u003e\u0026quot;The format is wonderful and offers what had long been missing in academic studies: usable manuals for specific themes or periods... I am definitely not alone in welcoming \u003cem\u003eArt \u0026amp; Ideas\u003c/em\u003e as a precious set of teaching tools.\u0026quot;\u0026#8212;\u003cem\u003eJoachim Pissarro, Yale University\u003c/em\u003e\u003c/p\u003e\n\n\u003cp\u003e\u0026quot;Phaidon's series may prove to be the pick of the crop. It boasts expert but undogmatic texts and a wealth of illustrations.\u0026quot;\u0026#8212;\u003cem\u003eThe Sunday Telegraph\u003c/em\u003e\u003c/p\u003e\n\n\n","webShortDescription":"Thorough survey of the Pop phenomenon of the 1960s and beyond.\u003cbr /\u003e"}