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Pop Art

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pop art, a movement that first emerged in Great Britain at the end of the 1950s as a reaction against the seriousness of abstract expressionism abstract expressionism, movement of abstract painting that emerged in New York City during the mid-1940s and attained singular prominence in American art in the following decade; also called action painting and the New York school.
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. British and American pop artists employed a common imagery found in comic strips, soup cans, and Coke bottles to express formal abstract relationships. By this means they provided a meeting ground where artist and layman could come to terms with art. Incorporating techniques of sign painting and commercial art into their work, as well as commercial literary imagery, pop artists such as Roy Lichtenstein Lichtenstein, Roy , 1923–97, American painter, b. New York City. A master of pop art, Lichtenstein derived his subject matter from popular sources such as comic strips.
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 and Andy Warhol Warhol, Andy, 1928–87, American artist and filmmaker, b. Pittsburgh as Andrew Warhola. The leading exponent of the pop art movement and one of the most influential artists of the late 20th cent.
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 attempted to fuse elements of popular and high culture to erase the boundaries between the two.

Bibliography

See L. Alloway, ed. Modern Dreams: The Rise and Fall and Rise of Pop Art (1988).


Pop art

Art in which commonplace objects (such as comic strips, soup cans, road signs, and hamburgers) were used as subject matter. The Pop art movement was largely a British and American cultural phenomenon of the late 1950s and '60s. Works by such Pop artists as the Americans Roy Lichtenstein, Andy Warhol, Claes Oldenburg, Tom Wesselman, James Rosenquist, and Robert Indiana and the Britons David Hockney and Peter Blake, among others, were characterized by their portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; their iconography—taken from television, comic books, movie magazines, and all forms of advertising—was presented emphatically and objectively and by means of the precise commercial techniques used by the media from which the iconography itself was borrowed. Some of the more striking forms that Pop art took were Lichtenstein's stylized reproductions of comic strips and Warhol's meticulously literal paintings and silk-screen prints of soup-can labels and Marilyn Monroe. Pop art represented an attempt to return to a more objective, universally acceptable form of art after the dominance in both the United States and Europe of the highly personal Abstract Expressionist movement. Its effects—including its decisive destruction of the boundary between “high” and “low” art—have continued to be powerfully felt throughout the visual arts to the present day.


pop art
a movement in modern art that imitates the methods, styles, and themes of popular culture and mass media, such as comic strips, advertising, and science fiction
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Pop Art 

(from “pop”—an abrupt sound, light blow, or bang that is similar to the sound made when a cork is removed from a bottle; literally, an art that has an explosive, shocking effect; interpreted also as a shortened form of “popular art”), a neo-avant-garde movement in the fine arts. Representing a unique reaction to abstract art and, at the same time, having similarities to dadaism (particularly to the art of M. Duchamp) and surrealism, pop art became widespread in the United States, Great Britain, and other countries in the second half of the 1950’s. The movement’s founder was the American R. Rauschenberg. Other American pop artists have included C. Oldenburg, J. Rosen-quist, J. Johns, R. Lichtenstein, and J. Dine. British exponents of the movement have included P. Blake and R. Hamilton.

Pop artists seek a “return to reality.” Their goals include the “disclosing of the aesthetic value” of mass-produced objects, elements of mass communications (advertisements, photographs, reproductions, comic strips), and the entire artificial and material milieu surrounding man. The artists reproduce, often by means of collage or similar techniques, commonplace objects of modern urbanized life. Such objects include household items, packaging, fragments of interiors, and machine parts. Also reproduced are popular representations of famous personalities or well-known events. Sometimes the actual objects and original representations are incorporated into the composition.

Substituting for reality a meaningless combination of diverse artifacts, pop art, like the modernist movements that preceded it, remains restricted to a narrow range of self-sufficient formal experiments. As remote as abstract art from being consistently realistic, pop art is, in essence, anti-art. To a certain extent, the movement has influenced advertisements, posters, and magazine illustrations. This shows that pop art is geared for the mass culture of capitalist society and that it undermines intellectual values.

REFERENCES

Lifshits, Mikh. “Fenomenologiia konservnoi banki.” In Mikh. Lifshits and D. Reingardt, Krizis bezobraziia: Ot kubizma k pop-art. Moscow, 1968.
Sibiriakov, V. Pop-art i paradoksy modemizma. Moscow [1969].
Kuz’mina, M. “Pop-art.” In the collection Modernizm. Moscow, 1973.
Rublowsky, J. Pop Art. New York, 1965.
Lippard, L. R. Pop Art, 3rd ed. London [1970].


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It's not Pop Art but it is popular culture," says curator James Beighton.
Byline: ANI London, August 21 (ANI): A 'Michael Jackson' portrait created by King of Pop Art Andy Warhol in 1984 has sold for an undisclosed amount at auction in New York.
A portrait of a beaming Michael Jackson by pop art legend Andy Warhol, purchased just weeks ago for less than 300,000 dollars, could fetch as much as 10 million dollars at auction next month, art connoisseurs said Thursday.
 
 
 
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