Cartoonish coyotes play on Fonseca's overlapping identities as queer, American, and Indigenous. Harry Fonseca, Two Coyotes with Flags by Roxanne Beason and Dr. Steven Zucker
While Hamilton's Just What is It… is considered to be among the most foundational works of Pop Art, this small collage was initially not created as a work of art. Richard Hamilton, Just What is It That ... by Dr. Allison Young
At this party, everyone has the same face and seems profoundly alone. Marisol, The Party by Dr. Halona Norton-Westbrook, Toledo Museum of Art and Dr. Steven Zucker
With this canvas, Coca-Cola [3], Warhol becomes Warhol. Warhol, Coca-Cola [3] by Alejo Benedetti, Crystal Bridges Museum of American Art and Dr. Steven Zucker
By laying bare the relationship between commerce and art, Warhol nullified the idea of being a sell out. The Case for Andy Warhol by The Art Assignment
This war machine seemed obsolete before it was finished; Rosenquist explains why he painted it with SpaghettiOs. James Rosenquist, F-111 by The Museum of Modern Art
By putting this in the museum, we see this as art. But what if it weren’t there? Why is this art? Andy Warhol, Campbell’s ... by Sal Khan and Dr. Steven Zucker
How do you make a nineteenth-century masterpiece ask twentieth-century questions? Roy Lichtenstein, Rouen Cathedral Set V by Dr. Beth Harris and Dr. Steven Zucker
Oldenburg’s wonderfully floppy, sloppy cake is filthy, humorous, and not at all edible. Claes Oldenburg, Floor Cake by Dr. Beth Harris and Dr. Steven Zucker
Marilyn’s floating head, garishly colored, functions as the Virgin Mary in a Byzantine icon. Andy Warhol, Gold Marilyn Monroe by Dr. Beth Harris and Dr. Steven Zucker
This sculpture, installed on the Yale campus during Vietnam War protests, was never meant to be permanent. Claes Oldenburg, Lipstick (Ascending) on Caterpillar Tracks by Dr. Mya Dosch
Warhol used a quasi-mechanical process of silkscreen to reproduce Marilyn Monroe’s familiar face again and again. Andy Warhol, Marilyn Diptych by Tina Rivers Ryan
Pop seems to glorify popular culture, but a second look reveals a critique of post-war marketing and consumerism. Pop Art by Dr. Virginia B. Spivey
Since 1960, artists have come up with countless ways to engage audiences on a huge spectrum of topics. Contemporary Art, an introduction by Dr. Virginia B. Spivey