Can you celebrate consumer culture at the same time that you critique it? Pop artists thought so.
c. 1956 - 1980
Can you celebrate consumer culture at the same time that you critique it? Pop artists thought so.
c. 1956 - 1980
The term “Pop Art” first emerged in Great Britain after World War II, but the approach can be traced back even further.
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By laying bare the relationship between commerce and art, Warhol nullified the idea of being a sell out.
This war machine seemed obsolete before it was finished; Rosenquist explains why he painted it with SpaghettiOs.
By putting this in the museum, we see this as art. But what if it weren’t there?
How do you make a nineteenth-century masterpiece ask twentieth-century questions?
Oldenburg’s wonderfully floppy, sloppy cake is filthy, humorous, and not at all edible.
Marilyn’s floating head, garishly colored, functions as the Virgin Mary in a Byzantine icon.
This sculpture, installed on the Yale campus during Vietnam War protests, was never meant to be permanent.
Warhol used a quasi-mechanical process of silkscreen to reproduce Marilyn Monroe’s familiar face again and again.
Pop seems to glorify popular culture, but a second look reveals a critique of post-war marketing and consumerism.
Since 1960, artists have come up with countless ways to engage audiences on a huge spectrum of topics.