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Pop Art

Pop Art emerged in the 1950s, celebrating everyday objects and popular culture, with notable artists like Andy Warhol and Roy Lichtenstein. The movement was characterized by its rejection of traditional art subjects and incorporation of commercial imagery. Alongside Pop Art, movements like Op Art and Performance Art also gained prominence, focusing on perception, live expression, and audience engagement.

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6 views6 pages

Pop Art

Pop Art emerged in the 1950s, celebrating everyday objects and popular culture, with notable artists like Andy Warhol and Roy Lichtenstein. The movement was characterized by its rejection of traditional art subjects and incorporation of commercial imagery. Alongside Pop Art, movements like Op Art and Performance Art also gained prominence, focusing on perception, live expression, and audience engagement.

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princesskarodillo
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Pop art

Pop Art's refreshing reintroduction of identifiable imagery, drawn from media


and popular culture, was a major shift for the direction of modernism. With
roots in Neo-Dada and other movements that questioned the very definition of
“art” itself, Pop was birthed in the United Kingdom in the 1950s amidst a
postwar socio-political climate where artists turned toward celebrating
commonplace objects and elevating the everyday to the level of fine art.
American artists Andy Warhol, Roy Lichtenstein, James Rosenquist and
others would soon follow suit to become the most famous champions of the
movement.

in their own rejection of traditional historic artistic subject matter in lieu of


contemporary society’s ever-present infiltration of mass manufactured
products and images that dominated the visual realm. Perhaps owing to the
incorporation of commercial images, Pop Art has become one of the most
recognizable styles of modern art.

I Was a Rich Man's Plaything (1947)

Artist: Eduardo Paolozzi

The work exemplifies the slightly darker tone of British Pop Art, which
reflected more upon the gap between the glamour and affluence present in
American popular culture and the economic and political hardship of British
reality.
1956 Just What Is It That Makes Today's Homes So Different, So
Appealing?

Artist: Richard Hamilton

Hamilton's image was used both in the


catalogue for the exhibition and on posters
advertising it.

1960-61

President Elect
Artist: James Rosenquist

original mass media context, and then photo-


realistically recreated them on a monumental scale.

Op Art

Artists have been intrigued by the nature of perception and by optical effects
and illusions for many centuries. They have often been a central concern of
art, just as much as themes drawn from history or literature. But in the 1950s
these preoccupations, allied to new interests in technology and psychology,
blossomed into a movement. Op, or Optical, art typically employs abstract
patterns composed with a stark contrast of foreground and background - often
in black and white for maximum contrast - to produce effects that confuse and
excite the eye. Initially, Op shared the field with Kinetic Art - Op artists being
drawn to virtual movement, Kinetic artists attracted by the possibility of real
motion. Both styles were launched with Le Mouvement, a group exhibition at
Galerie Denise Rene in 1955. It attracted a wide international following, and
after it was celebrated with a survey exhibition in 1965, The Responsive Eye,
at the Museum of Modern Art in New York, it caught the public's imagination
and led to a craze for Op designs in fashion and the media. To many, it
seemed the perfect style for an age defined by the onward march of science,
by advances in computing, aerospace, and television. But art critics were
never so supportive of it, attacking its effects as gimmicks, and today it
remains tainted by those dismissals.

1913

Structural Constellation
Artist: Josef Albers

The black rectangular shapes intersect each other from


various angles to disorient the viewer's perception of what is in front and what
is behind.

1964

Blaze
Artist: Bridget Riley

The zigzag black and white lines in Blaze create the perception of a circular
decent. As the brain interprets the image, the alternating pattern appears to
shift back and forth.

1967

Duo- 2
Artist: Victor Vasarely

The illusion is so effective that we are almost led to forget that it is a painted
image, and made to think it is a volumetric construction. Although black and
white delivered perhaps the most memorable Op images, color also intrigued
many Op artists.

Performance Art

Performance is a genre in which art is presented "live," usually by the artist


but sometimes with collaborators or performers. It has had a role in avant-
garde art throughout the 20th century, playing an important part in anarchic
movements such as Futurism and Dada. Indeed, whenever artists have
become discontented with conventional forms of art, such as painting and
traditional modes of sculpture, they have often turned to performance as a
means to rejuvenate their work. The most significant flourishing of
performance art took place following the decline of modernism and Abstract
Expressionism in the 1960s, and it found exponents across the world.
Performance art of this period was particularly focused on the body, and is
often referred to as Body art. This reflects the period's so-called
"dematerialization of the art object," and the flight from traditional media. It
also reflects the political ferment of the time: the rise of feminism, which
encouraged thought about the division between the personal and political and
anti-war activism, which supplied models for politicized art "actions." Although
the concerns of performance artists have changed since the 1960s, the genre
has remained a constant presence, and has largely been welcomed into the
conventional museums and galleries from which it was once excluded.

1958

The Anthropometries of the Blue Period


Artist: Yves Klein

He initially became famous for monochromes - in particular for monochromes


made with an intense shade of blue that Klein eventually patented. But he
was also interested in Conceptual art and performance.

1964

Cut Piece
Artist: Yoko Ono
Yoko Ono’s Cut Piece, first performed in 1964, was a direct invitation to an
audience to participate in an unveiling of the female body much as artists had
been doing throughout history.

1971

Shoot
Artist: Chris Burden

In many of his early 1970s performance pieces, Burden put himself in danger,
thus placing the viewer in a difficult position, caught between a humanitarian
instinct to intervene and the taboo against touching and interacting with art
pieces.

Happenings and Mob

What began as a challenge to the category of "art" initiated by


the Futurists and Dadaists in the 1910s and 1920s came to fruition
with Performance Art, one branch of which was referred to as Happenings.
Happenings involved more than the detached observation of the viewer; the
artist engaged with Happenings required the viewer to actively participate in
each piece. There was not a definite or consistent style for Happenings, as
they greatly varied in size and intricacy. However, all artists staging
Happenings operated with the fundamental belief that art could be brought
into the realm of everyday life. This turn toward performance was a reaction
against the long-standing dominance of the technical aesthetics of Abstract
Expressionism and was a new art form that grew out of the social changes
occurring in the 1950s and 1960s.

American Moon (1960)


Artist: Robert Whitman

The piece consisted of six paper tunnels that radiated outwards


from the performance area in which the audience would sit to watch
piles of cloth being moved accompanied by various sounds.
Yard (1961)
Artist: Allan Kaprow

Yard by Kaprow involved the random scattering and


piling of tires over the floor and an invitation to
visitors to climb over them.

Stamp Vendor (1961)


Artist: Robert Watts

Stamp Vendor involved stamps that artist Robert Watts created and
placed inside of actual stamp dispensers that Watts "borrowed"
from the United States Post Office.

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