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Postmodernism and Pop Art

by: Jessika Song

Postmodernism and Pop Art ARHI 2400

Marketplace > University of Georgia > Art History > ARHI 2400 > Postmodernism and Pop Art
Jessika Song

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These notes are a combination of material from the textbook and from class lectures, to give you all of the information you'll need for the exam.
History of Art Survey, Part II
Beth Fadeley
Class Notes
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This 3 page Class Notes was uploaded by Jessika Song on Wednesday May 4, 2016. The Class Notes belongs to ARHI 2400 at University of Georgia taught by Beth Fadeley in Spring 2016. Since its upload, it has received 13 views. For similar materials see History of Art Survey, Part II in Art History at University of Georgia.


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Date Created: 05/04/16
2QUVOQFGTPKUO▯CPF▯2QR▯#TV▯ Postmodernism and Pop Art Postmodernism: a movement in art, architecture, culture, and theory, flourishing in the mid to late twentieth century. Postmodernism challenged the cornerstones of originality, progress, essence, and rationality that had exemplified many forms of Modernism in the 19th and 20th centuries. - Postmodernism had its roots in many different places and was not a select group of people. - Jasper Johns and Robert Rauschenberg are both seen as transitional figures between Abstract Expressionism/Modernism and Pop Art. Both outsiders to the high art world — moved to New York and created pieces that were reactions to modernism. Jasper Johns (1930-present) - One of the artists pivotal to the early development of American Pop Art. Initially labeled a Neo-Dadaist because of the kinship of his works to Marcel Duchamp’s readymades. Also had strong ties to the Surrealists, especially Magritte, whose painting of a pipe (“This is not a pipe”) is conceptually a forerunner of Johns’ flag paintings. The painting, like the flags, is an object, not a illusion of other objects. - Grew up in South Carolina and moved to New York City in 1952. He sought to draw attention to common objects in the world — what he called things “seen but not looked at.” - Johns was very much a conceptual artist and thought out his art thoroughly before he started working. Target with Four Faces - Johns utilizes traditional conventions and techniques of art to draw attention to the center of the canvas, such as perspective and a tight, controlled composition. - In the same way as Rubens’Arrival of Marie de Medici, Johns uses color to focus the attention on a certain subject. Robert Rauschenberg (1925-2008) - Began using mass-media images in his work in the 1950s. Set out to create works that would be open and indeterminate, by making combines, which intersperse painted passages with sculptural elements. Bed - This piece is a combine — Rauschenberg re-contextualizes a real-life object, such as a bed, that holds pre-existing values and gives it new meaning. Pop Art - Artists, observing that the avant-garde had alienated the public, sought to harness the communicative power of art to reach a wide audience. Thus was born the Independent Group in London and the art movement known as Pop. - Although Pop Art originated in England, the movement found its greatest success in the United States, because of the more fully matured American consumer culture. - Artists saw consumerism and images (printed, on tv, advertisements) and depicted what they saw — an impulse seen since the beginning of modernism. Pop Art: emerging in the late 1950s and associated primarily with painting and sculpture, Pop Art drew upon the styles, subject matter, and production techniques of commercial art, product design, and mass media imagery. Roy Lichtenstein (1923-1997) - Born in Manhattan and developed an interest in art in elementary school. He served in the army during WWII and trained as a fighter pilot. - Famous for utilizing benday dots, as well as the visual vocabulary of the comic strip, with its dark black outlines and unmodulated color areas. benday dots: named after illustrator and printer Benjamin Day; a system that involves the modulation of colors through the placement and size of colored dots. Whaam! - A painting taken from a DC Comics comic book panel. Lichtenstein utilizes benday dots and other visual cues seen in comics. - The size of the painting is that of a history painting, thus elevating comic book to the realm of monumental painting. Andy Warhol (1928-1987) - Born to Czechoslovakian immigrant parents and raised in Pittsburgh at the height of consumer culture. - An early successful career as a commercial artist and illustrator, grounded Warhol in the visual rhetoric of advertising and mass media. - He was fascinated by the idea that the richest consumers can buy the same thing as the poorest consumers, such as Coke or Campbell’s Soup. Warhol replicated the idea of mass consumption in his art and believed that success comes from the ability to replicate. Marilyn Diptych - Warhol used a publicity photo of hers (Niagara) from a movie and screen printed reproductions. - The piece was completed weeks after Marilyn’s death, which was seen as a national, even worldwide, tragedy. It reiterates the idea that Marilyn Monroe was simply an image that was reproduced across the world, but that nobody really knew her. James Rosenquist (1933-present) - Like Warhol, Rosenquist began as a commercial artist; painted billboards. F-111 - 55 different canvases put together and exhibited was one piece. When it was in its original exhibit space, it wrapped around all 4 walls, inundating the viewer with images and replicating the inundation of images that people face on a daily basis.


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