Pop Art Edited By Raven O’Neal
This book is dedicated to my love, Terell Roman, for his constant flow of encouraging energy and never ending love.
Pop Art by Raven O’Neal
Chapter One What Is Pop Art?
Table of Contents
What Is Pop Art Techniques and Characteristics Leading Pop Artists Modern Pop Artists Index Bibiliography
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Chapter One What Is Pop Art?
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What Is Pop Art?
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Pop art is a way of liking things. Andy Warhol
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What What is Pop Art? Pop art was a art movement that arose in America and Britain during the late 1950s. Pop art artists take influence from the commercial culture and the environment around them. This was a time filled with many key social changes and influential surroundings. Pop art seemed to go against traditional art in the sense that it emphasized elements of the artists’ culture. In addition, there was a large excitement for the growth in consumerism. Pop Art is a popular (designed for a mass audience), Transient (shortterm solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business.
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P O P Culture
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Pop Culture Definition Pop culture is modern popular culture transmitted via the mass media and aimed particularly at younger people.
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American History In America, after World-War II, there was a big boost in economy. With this boost in economy, consumerism was highly influenced. Americans were gaining higher wages, moving to the suburbs, and buying many comercial goods. Mass production became a huge thing for Americans. In addition, many Americans were being influenced by the dominant media at the time, television. American Pop art could be described as emblematic, anonymous, and aggressive. American pop artists took inspiration from Hollywood and the American life. Many artists used pop art as a celebration of massproduced media.
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Pop is everything art hasn’t been for the last two decades. It’s basically a U-turn back to a representational visual communication, moving at a break-away speed...Pop is a re-enlistment in the world...It is the American Dream, optimistic, generous and naïve. Jim IIne
Britian History In Britian, pop art appeared separate than American Pop Art, This is due to the difference in location and culture. While British Pop artist did have influences of the American culture, their influences where viewed from an outsider’s perspective. The movement was more academic in its approach. While employing irony and parody, it focused more on what American popular imagery represented, and its power in manipulating people’s lifestyles. The purpose of British pop art was to challenge current artistic conventions. In addtion, British pop art focused on “found art” and did not aim to stylize the cultural objects.
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Pop Art Timeline 1947 Eduardo Paolozzi produces what is often considered to be one of the first works of true pop art, I was a Rich Man’s Plaything. This collage even features the word “pop” itself, emerging from a gun.
1952 The Independent Group forms, where the first pop artists in London’s art scene meet and collaborate. This group produced many of the first exhibitions to feature pop art, and included a number of artists that are considered to be founders of the movement. Among them were Richard Hamilton and Eduardo Paolozzi, two extremely influential collage artists who helped to define the movement when it was in its infancy. Art critic Lawrence Alloway was also among the members of the Independent Group, and he is credited with coining the term “pop art,” though this is disputed. Some say it was Frank Cordell who came up with the term.
1954
1955
Frank Cordell may have coined
Pop art has now been defined an art move-
the term “pop art.”
ment. The concept of pop art is generally well established among memebers.
1956 The Independent Group is now dissolved, however many of the artists continue to meet informally, and several of them feature in the exhibition This is Tomorrow. Notably, Richard Hamilton’s collage Just what is it that makes today’s homes so different, so appealing? is displayed, a collage that would later be considered one of the turning points of the movement and one of the earliest pieces of true pop art.
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1961
1962
Billy Apple and others first venture to the Unit-
The term “pop art” is used for the
ed States and meet Andy Warhol. British and
first time in the U.S. by the Museum
American artists collaborate and help to bol-
of Modern Art in New York during
ster the style’s prominence on the art scene.
a symposium.
1963 Roy Lichtenstein produces one of his most famous paintings, Drowning Girl, which is an almost exact copy of a panel from the DC comic Secret Hearts.
1975 Andy Warhol publishes his book The Philosophy of Andy Warhol.
1979 Warhol helps found the New York Academy of Art.
1958 Lawrence Alloway writes an essay about pop art, called The Arts and the Mass Media, which helps to popularize the movement and further define it.
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Techniques and Characteristics
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Silkscreen printing is a printing process in which a mesh cloth is stretched over a heavy wooden frame and the design, applied on the screen by tusche or affixed by stencil, is printed by having a squeegee force color through the pores of the material in areas not blocked out by a glue sizing. Silkscreen printing was made popular by artists such as Andy Warhol.
Painting, an artistic technique that has been around since the 15th century, is another technique that pop artists use for their medium.
Performance art is created by many pop artists. Artists such as Yayoi Kusama include real performers or even themselves live within the art piece.
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Found objects, objects that can be easily
Sculpture is an extremely popular medium
found in an everyday enviroment, have been
to create pop art. Jeff koons for example,
used by many pop artists. Typically in pop art,
is known for his sculputers of balloon dogs.
these objects include consumer products.
The increase of technological advances allow artists to create their art digitally. In 2019, it is extremely common to create art using online resources and software such as the Adobe Creative Cloud. Many artists, including new artists such as Julian Opie, take advantage of the genre by creating animated graphics.
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Murals are paintings that use buildings as canvasas. Many pop artist take advantage of this art form to create wonderful designs.
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Key Ideas By creating paintings or sculptures of mass culture objects and media stars, the Pop art movement aimed to blur the boundaries between “high” art and “low” culture. The concept that there is no hierarchy of culture and that art may borrow from any source has been one of the most influential characteristics of Pop art. Abstract Expressionists searched for trauma in the soul, while Pop artists searched for traces of the same trauma in the mediated world of advertising, cartoons, and popular imagery at large. However, it may be more precise to say that Pop artists were the first to recognize that there is no unmediated access to anything, be it the soul, the natural world, or the built environment. Pop artists believed everything is interconnected, and therefore sought to make those connections literal in their artwork. Although Pop art encompasses a wide variety of work with very different attitudes and postures, much of it is somewhat emotionally removed. In contrast to the “hot” expression of the gestural abstraction that preceded it, Pop art is generally “coolly” ambivalent. Whether this suggests an acceptance of the popular world or a shocked withdrawal, has been the subject of much debate. Pop artists seemingly embraced the post-World War II manufacturing and media boom. Some critics have cited the imagery in Pop art is an s an enthusiastic endorsement of the capitalist market and the goods it circulated, while others have noted an element of cultural critique in the Pop artists’ elevation of the everyday to high art: tying the commodity status of the goods represented to the status of the art object itself, emphasizing art’s place as, at base, a commodity. The majority of Pop artists began their careers in commercial art: Andy Warhol was a highly successful magazine illustrator and graphic designer; Ed Ruscha was also a graphic designer, and James Rosenquist started his career as a billboard painter. Their background in the commercial art world trained them in the visual vocabulary of mass culture as well as the techniques to seamlessly merge the realms of high art and popular culture.
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Some pop artists chose to focus solely on consumerism and materialism by using popular products as their subjects. Like stated in the preivous chapter, Americans focused on the glorification of consumerism and mass- production. In addition, British pop artists focused on the effects these elements had on the individual.
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REPETITION REPETITION REPETITION REPETITION REPETITION REPETITION REPETITION
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BOLD Black Outlines
Bright and bold colors fill many pop art pieces. Some artists choose to use bold black outlines to help emphasize the bold colors.
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Dots
Repeating dots are a repccuring theme in many pop art designs.
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Andy Warhol
Andy Warhol was an American artist, director and producer. He was born on 6 August 1928 and lived until 22 February 1987. Warhole was part of the pop art movement and is considered one of the leading figures of the movemnt. His art took a huge focus on artistic culture, media and advertising. His art included printing, silkscreening, photography, film, and scultpure. He is most popular for his silkscreened printings. He used brands like Coca Cola and Campbell’s Soup, which was one of his favourite things to eat and used them as inspoiration. Andy Warhol’s focus on mass-produced soup cans in 1961 was the introduction to what pop art is today.
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Andy Warhol set out to subtly recreate the abundance, via images, found in advertising. He recreated on canvas the experience of being in a supermarket. Warhol is credited with envisioning a new type of art that glorified (and also criticized) the consumption habits of his contemporaries and consumers today.
Andy Warhol ‘s Coca-Cola (3), 1962.
Andy Warhol ‘s Campbell’s Soup Can. 1962.
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Andy Warhol at his May 1971 retrospective at the Whitney Museum of American Art, New York.
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Andy Warhol, Marilyn Monroe (Marilyn), 1967.
After Marilyn Monroe’s death in Auguest 1962, Andy Warhol became infatuated with Monroe’s fame. Her sudden death became huge news that impacted the media. Influenced by pop culture, Warhol took a black and white photo of Marilyn Monroe and used it to create a series of art. The art was screenprinted and intended to show repitition. The idea of this particular repition is to capture Marilyn Monroes’ repeating presence in the media. It also shows that after being repeated so much, it is difficult to distinguish the image as a person. Andy Warhol successfully questions the young actress’s mortality.
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Warhol’s studio was called The Factory, which was a reference to the mass-produced nature of his artworks. He saw art as a product, the same as the clothes you wear and the food you eat. He had a very particular personal style. He had a shock of white hair and was usually seen wearing a lot of black, leather jackets and glasses or sunglasses. Warhol first began making box sculptures in 1963. Invoking a factory assembly line and enlisting help from his studio assistants at the Silver Factory, he created hundreds of replicas of large supermarket product boxes—including Brillo Boxes, Heinz Boxes, Del Monte Boxes, and more. The finished sculptures were nearly indistinguishable from their cardboard supermarket counterparts, single packing cartons. Warhol’s Brillo Boxes were first exhibited in 1964 at the Stable Gallery in New York where they were tightly packed and piled high, recalling a grocery warehouse.
Andy Warhol’s Brillo Boxes, 1969.
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You have to do stuff that average people don’t understand because those are the only good things
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Roy Lichtenstein Roy Lichtenstein was one of the first American Pop artists to achieveworld wide popularity, He quickly became a leading name for the Pop Art movement. His orinal art had a varied style range and subject matter. His grasp of his pop art styl occured in 1961. During this year, Roy Lichtenstein was inspired heavily by comic strips. Go to technique is a method of creating images, which blended aspects of mechanical reproduction and drawing by hand. Like Andy Warhol, Roy Lichtenstein sought to connect the traditions of fine art with the mass culture of television, advertising, film, and cartoons. At the same time, he challenged traditional boundaries between mediums and techniques. He merged painting with photography and printmaking, combining handmade and readymade or mass-produced elements. This resulted in objects, images, and sometimes text comming together to make new meaning. Lichtensten was famous for encourporating found objects into his work,
Roy Lichtenstein In the car 1963.
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Roy Lichtenstein’s Ceramic Sculpture 7 .1965
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As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Roy Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial, fascinated him as classic and idealized.
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Pop Art is industrial painting. I think the meaning of my work is that it is industrial, it’s what all the world will soon become. Europe will be the same way, soon, it won’t be American; it will be universal.
Roy Lichtenstein Quotes
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Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
Art doesn’t transform. It just plain forms.
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s e n i b Com
Robert Rauschenberg Milton Ernest “Robert” Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his “Combines” of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. Robert Rauschenberg was awarded the National Medal of Arts in 1993. He later became the recipient of the Leonardo da Vinci World Award of Arts in 1995 for recognition of his more than 40 years of fruitful artmaking. Eventually, lived and worked in New York City as well as on Captiva Island, Florida until his death from heart failure on May 12, 2008.
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Robert Rauschenberg’s ‘Just what is it that makes today’s homes so different, so appealing?’. 1956.
Perhaps best-known for his 1956 collage ‘Just What Is It that Makes Today’s Homes So Different, So Appealing?’, often referred to as the first example of Pop art. Hamilton also acted as curator of a major retrospective of Marcel Duchamp’s work at the Tate Gallery in 1966, and edited a typographic version of that artist’s “Green Box.” He worked in a wide variety of media and designed the cover of The Beatles’ “white” album, released in 1968.
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The 1/4 Mile Robert Rauschenberg produced a diverse body of work titles The 1/4 Mile. It is characterized by experimentation, the use of varied mediums and methods, and cross-cultural exchange. Rauschenberg’s monumental The 1/4 Mile or two Furlong Piece (1981–98) exemplifies these tenets of his artistic practice. Created over seventeen years, the work is composed of 190 panels that, combined, measure approximately a quarter mile in length. An eclectic array of materials comprise the piece: textiles, mass media images, and photographs by the artist intermingle with bold passages of paint, while everyday objects such as chairs, cardboard boxes, and traffic lights add sculptural depth. Heincorporated materials and photographs from the United States, Asia, Europe, Latin America, and Northern Africa, including audio of ambient street sounds recorded during his travels.
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Following his parents’ wishes, Rauschenberg attended the University of Texas in Austin to study pharmacology, but was expelled in his freshman year after refusing to dissect a frog. The draft letter that arrived in 1943 saved him from breaking the news to his parents. Refusing to kill on the battlefield, he was assigned as a medical technician in the Navy Hospital Corps and stationed at a hospital caring for combat survivors in San Diego. While on leave, he saw oil paintings in person for the first time at the Huntington Art Gallery in California. After the war ended, Rauschenberg drifted, eventually using the G.I. Bill to pay for art classes at Kansas State University in 1947. Rauchenberg decided on his arrival in to the city that he would mark his new life with a new first name: Bob. The following year, the newly anointed Robert Rauschenberg traveled to Paris to study at the Academie Julian. In 1951 and 1952, Rauschenberg split his time between the The Art Students League in New York, where he studied with the instructors Morris Kantor and Vaclav Vytlacil during the academic year, and Black Mountain College, where he spent the summer. His ambition secured him a prestigious solo show at the Betty Parsons Gallery in New York, exhibiting a series of White Paintings with scratched numbers and allegorical symbols (1953). He continued his paintings in white while attending Black Mountain College, where he rolled white house paint onto canvas with a roller. The flat white canvases were influenced by their surroundings, reflecting shadows of people and the time of day. Rauschenberg was also encouraged by The painter Jack Tworkov encouraged to explore black. His Black Paintings (1951), unlike the white series, were textured with thick paint and incorporated newspaper scraps. Also while at Black Mountain College, Rauschenberg met the minimalist composer John Cage and the choreographer Merce Cunningham, who both taught at the college and advocated the use of chance methods, found objects, and common, everyday experiences within high art. All of these ideas proved to be major influences on the young artist.
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Robert Rauschenberg Quotes Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
The artist’s job is to be a witness to his time in history.
I put my trust in the materials that confront me, because they put me in touch with the unknown. It’s then that I begin to work... when I don’t have the comfort of sureness and certainty.
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Robert Rauschenberg’s Bicycle, National Gallery. 1992.
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Rauschenberg’s work of the 1950s and 1960s influenced the young artists who developed later modern movements. Andy Warhol and Roy Lichtenstein traced their inspiration for Pop art to Rauschenberg’s collages of appropriated media images, and his experiments in silkscreen printing. The foundation for Conceptual art in large measure lies in Rauschenberg’s Dada-based belief that the artist had the authority to determine the definition of art. The most fitting exampleis his 1961 portrait of Iris Clert, made for an exhibition at her gallery in Paris, which consisted of a telegram that stated: “This is a portrait of Iris Clert if I say so/ Robert Rauschenberg.” Additionally, happenings and later performances of the 1960s trace their lineage to Rauschenberg’s collaboration with John Cage at Black Mountain College in The Event (1952). The postmodern aesthetic of appropriation that influenced artists like Cindy Sherman and Sherrie Levine is also indebted to Rauschenberg’s penchant for borrowing imagery from popular media and fine art. His penchant for bricolage influenced the choice of many later artists, even land artists and feminist artists, to utilize nontraditional artistic mediums in their work. While critics agree that Rauschenberg’s later works were not as influential as his earlier ones, his continued commercial success allowed him to support emerging artists. He co-founded Artists Rights Today to lobby for artists’ royalties on re-sales of their work, after he observed the gains made by early collectors with the boom in the art market. In 1970, he co-founded Change, Incorporated, which helped struggling artists pay their medical bills. He became more politically active as he grew older, testifying on behalf of artists for the National Endowment of the Arts in the 1990s. His undying energy was at the root of his success as an artist and as a spokesman for artists, and clearly drove the far-reaching influence of his work well beyond his lifetime.
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Jeff Koons
Possibly one of the most popular modern pop artist, Jeff koons, started on his journey into exploring pop art in 1980. He studied at the Art Institute of Chicago, and received a BFA from the Maryland Institute College of Art, Baltimore in 1976, and an honorary doctorates from the School of the Art Institute of Chicago in 2008 and Corcoran College of Art and Design,Washington, DC in 2002. Jeff Koons is known world wide for the sculptures Rabbit and Balloon Dog. His monumental floral sculpture Puppy is also extremely well known, shown at Rockefeller Center and permanently installed at the Guggenheim Bilbao.
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Jeff Koons Balloon Dog (Orange) 1994.
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Jeff Koons derives inspiration from things you might find at a yard sale: inflatable plastic toys, vacuum cleaners, porcelain trinkets and other items not typically considered fine art. He is the epitome of Neo-Pop, a 1980s movement that looked to earlier Pop artists, particularly Warhol, for inspiration Koons is notably reknown for is use of scale, ordinary items; and subliminal allegories of animals, humans, and anthropomorphized objects. His use of pop culture elements and bright colors is a prime example of what truely makes Koons a clear example of a modern pop artist.
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‘Our earth is only one polka dot among a million stars in the cosmos.Polka dots are a way to infinity. When we obliterate nature and our bodies with polka dots, we become part of the unity of our environment’. Yayoi Kusama
Yayoi Kusama Yayoi Kusama takes a unique perspective to the world of pop art. Her main inspiration actually comes fromone of the dreams she had as a child. Unfortuntely, Yayoi Kusama was prone to halucinations due to mental illness. In this dream, she had a bizzare hillucination where she was being talked to by flowers. These flowers surrounded her within a field, talking to her. The flower head’s were like dots. She felt as though she was ‘self-obliterating’ – into this field of endless dots. This weird experience influenced most of her later work. She now takes dots and ads them to many paintings drawings and objects. Kusama’s obsession with dots allows her art work to stand out against many other pop artists.Other artistical influences include artists such as Donald Judd, Andy Warhol, and Joseph Cornell who she was able to meet in person in 1959.
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Yayoi Kusama’s Life is the Heart of a Rainbow experience. 2017. Yayoi Kusama works with many different types of art. She has experimented with paintings, sculptures, performances and installations. All of these art works have the common element of dots. Another fun and experimental art medium that Kusama uses is mirrors and electric lights. She is known for taking these elements and creating spectacular art pieces.
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Peter Philips Peter Phillips is one of the preeminent British Pop Artists of our time. His work ranges from oils on canvas to multi-media compositions and collages. As one of the originators of Pop Art, Phillips got his start at the Royal College of Arts. Phillips moved to New York when he was given a Harkness Fellowship, where he was able to exhibit his work alongside his American counterparts Andy Warhol and Roy Lichtenstein. Phillips’ work can be seen in dozens of museums and galleries worldwide. He now resides in Australia where he continues to paint and exhibit.
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Peter Phillips made some of his earliest and best known paintings over 55 years ago now. Yet today, in a world so oversaturated by commercialized imagery and self-generated photos, his work feels particularly relevant. Adopting the visual language of advertising, graphic design, and the Constructivists—while also channeling Dadaist collage—Phillips developed a style that was at once in step with his Pop art contemporaries and wholly distinct from them.
“Skill improves as you get older. I’m not talking about technical proficiency or detail, mind you, but skill. Hopefully, since the ’50s and ’60s, my paintings and prints have gotten better. I’ve always tried to experiment. It’s not fun unless I’m trying something new.” Peter Phillips
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Peter Phillips’ Custom Print I. 1965.
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Before attending the Royal College of Art in London, Peter Phillips studied graphic design and technical draftsmanship. He applied his skills to establish a style marked by the juxtaposition of images, like the Pinup Model and Car Part in Custom Print I (1965), which were sourced from magazines and other mass media in montage-like compositions. The title of this print refers to custom auto-body shops where a polished enamel sheen is appleid to cars. Phillips worked with Chiron Press, a screenprinting studio that produced posters and greeting cards. The press encouraged him experiment with nontraditional materials such as silver foil and glossy inks, which complement the artist’s brash and vibrant style.
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Yoshitomo Nara’s smoking girl. 2005
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Yoshitomo Nara Yoshitomo Nara is a pop artist who was born in 1959 in Hirosaki, Japan. Nara studied at the Aichi Prefectural University of Fine Arts and Music, where he earned both his BFA and MFA. He eventually studied at the Kunstakademie Düsseldorf during the late 1980s. He currently lives and works in Tokyo. The artist’s works are held in the collections of the Art Institute of Chicago, the National Museum of Art in Osaka, and the Rubell Family Collection in Miami, among others. Nara is a unique artist that merges the idea of pop art and mixes it with other artistic influences. Kusama’s influences include anime, Disney, and punk rock music. His art has an uneasiness to it. Common characteristics invollve large slanted eyes and abnormally large heads. The buizarre faces of each chatacter seem almost sinister. At first glance, you may see a playful child or an adorable put; however, in many of these art pieces there are horror elements such as weapons and blood.
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Songs by the Ramones and other punk bands that Nara first heard in the late 1970s affected him deeply and shaped his philosophical outlook. Nara’s resolve to live his life on his own terms and never let go of his independence is encapsulated in his personal motto: never forget the beginner’s spirit. At the root of this is the so-called do-it-yourself spirit of punk culture. From his earliest to most recent works, Nara often makes direct reference to his favorite musicians or song lyrics
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It’s only when you are bored that you can see
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Julian Opie Julian Opie is a leading contemporary pop artist. Opie studied at Goldsmiths’ College (1979-82) under Michael Craig-Martin, for whom he briefly worked as an assistant, and he emerged as an influential figure on the British art scene in the 1980s, with a series of painted metal sculptures. Opie’s distinctive graphic style exists in the form of billboard posters, album covers and LED screens. The artist approaches the work by reducing the features that distinguish individuals from each other to the bare minimum. With just a few lines he is able to characterise what makes us unique and recognisable. Opie’s work has been exhibited extensively in galleries and museums around the world.
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Julian Opie has an extremely unique style of art. Much of his paintings are extremely simplistic. This simplicity helps allow the colors and bold outlines within the design to stand out. These bold outlines are a key characteristic for pop art.
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Index Andy Wahol 9, 16-19, 31-36 Combines - 43 Consumerism 27 Found Object 20, 38 Jeff Koons - 53 - 54 Julian Opie 20, 67 - 70 Painting 19, 23 Performance 19 Peter Phillips 59 - 62 Popular Culture 12 Robert Rauschenberg - 43-50 Roy Lichtenstein 37- 42 Silkscreen 19 Yayoi Kusama 55-58 Yoshimo Nara 63-66
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BIB
Y H P A R G ILIO
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Bibiliography
Bibiliography
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Kusama, Yayoi. “ Yayoi Kusama.” Biography | Yayoi Kusama, yayoi-kusama.jp/e/biography/index.html. Berman, Avis. “BIOGRAPHY.” Roy Lichtenstein Foundation, 2017, lichtensteinfoundation.org/biography/. Chiu, Melissa. “Foursquare and Asia Society.” Yoshitomo Nara Nobody’s Fool | Asia Society.org, The Asia Society, 2010, sites.asiasociety.org/yoshitomonara/. Dafoe, Taylor. “Pioneering British Pop Artist Peter Phillips on Still Working at 79, Lichtenstein’s Generosity, and Why He Doesn’t Think Much About Legacy.” Artnet News, 24 Oct. 2018, news.artnet.com/partner-content/peter-phillips-interview. History, Pop Art. “Pop Art Timeline.” Pop Art, www.poparthistory.com/timeline.html. Jeff Koons, 2019, www.jeffkoons.com/artwork/editions.
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“Jeff Koons.” Art21, art21.org/artist/jeff-koons/. “Julian Opie.” National Portrait Gallery, www.npg.org.uk/collections/search/person/ mp59425/julian-opie. “Modern Art Monday Presents: Custom Print 1 By Peter Phillips.” The Worley Gig, 25 Feb. 2018, worleygig.com/2018/03/19/modern-art-monday-presents-custom-print-1by-peter-phillips/. “MoMA Learning.” Edited by Sara Bodinson, MoMA, www.moma.org/learn/moma_ learning/themes/pop-art/. “Pop Art Movement Overview.” The Art Story, www.theartstory.org/movement-popart.htm. “Rauschenberg: The 1/4 Mile.” LACMA, Los Angeles County Museum of Art, www. lacma.org/art/exhibition/rauschenberg-14-mile.
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“Robert Rauschenberg Sculptures, Bio, Ideas.” The Art Story, www.theartstory.org/artist-rauschenberg-robert.htm. Spivey, Virginia. “Pop Art.” Khan Academy, Khan Academy, www.khanacademy.org/ humanities/art-1010/pop/a/pop-art. Tate. “Tate.” Tate, www.tate.org.uk/.
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