1.
Art 271<br />Ch. 19 Pop Art<br />

2.
Looking ahead<br />Today: Lecture on Assemblage, Happenings, Pop Art: Ch. 19<br />Tues. 11/17: Film: Andy Warhol. Also, discussion about MAG Paper due Thurs. Dec. 3rd<br />Thurs. 11/19: Ch. 20, Sixties Abstraction: Minimalism<br />REMINDER: NO CLASS WEEK OF NOV 24<br />

3.
1950s & 1960s <br />Beat Background <br />Assemblage<br />Happenings<br /> Pop Art<br />

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Historical Background: 1950s Conventional America: Emphasis on the nuclear family: TV’s ‘Leave it to Beaver’<br />

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1950s Beat Generation Background<br />“I saw the best minds of my generation destroyed by madness, starving hysterical naked.” <br /> – Howl, 1955<br />Allen Ginsberg, Howl, 1955<br />

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1950s Beat Culture BackgroundOn the Road, 1957<br />For:<br />Jazz<br />Zen Buddhism<br />Experimentation <br />Against:<br />Conformity <br />Materialism<br />Mainstream<br />

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Art Movement: Assemblage (also called Neo-Dada)<br />Artists gather seemingly random objects and put them together in unruly compositions to see what kind of meanings might emerge<br />Emphasis on everyday surroundings for subject matter<br />Create their works from the “refuse” of modern society<br />Artists: Robert Rauschenberg, Jasper Johns<br />Influences: Composer John Cage, Artist Marcel Duchamp (Dada)<br />

8.
Morris Louis, Saraband, 1959, over 8’ x 12’ <br />

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Robert Rauschenberg, Canyon, 1959,Jasper Johns, Three Flags, 1958, encaustic on canvas <br />

10.
Marcel Duchamp, Bicycle Wheel, 1913 &Fountain, 1917 Readymades<br />

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John Cage, 1952<br />composer known for 4’ 33”<br /> – silent piece<br />

12.
Robert Rauschenberg (1925-2008)<br />

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19.28, Robert Rauschenberg, Bed, Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports, MOMA<br />“Combine” – combination of painting and sculpture<br />

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19.29, Robert Rauschenberg, Monogram, 1955-59Combine - combination of painting & sculpture<br />

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19.30, Robert Rauschenberg, Estate, 1963. Oil on silkscreen ink on canvas, 8’ x 5’10”<br />

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Jasper Johns (b. 1930)<br />

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Assemblage<br />Both Johns and Rauschenberg move away from individual personal expression and fixed identity associated with Abstract Expressionism toward an identity shaped by factors from the outside environment.<br />

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19.31, Jasper Johns, Flags, 1954-55. Encaustic oil and collage on fabric mounted on plywood. MOMA<br />

19.
19.32, Jasper Johns, Target with Plaster Casts, 1955. Encaustic and collage on canvas with wood construction and plaster casts. 51 x 44 x 3 ½ inches<br />

20.
Art Movement: Happenings<br />Purpose: to call into question the idea that a work of art was an enduring record of artistic genius<br />Sought to integrate art with life and extend art into a theatrical situation<br />Approach: Ephemeral works; chance; mixed media<br />**Audience is necessary to “activate” the work of art<br />Influenced by:<br />John Cage<br />Dadaism (Duchamp)<br />Action Painting<br />Artist: Allan Kaprow<br />

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Happenings, Allan Kaprow, Yard, 1961<br />Early to mid 1960s<br />Name Happening from Allan Kaprow’s 1st show at N.Y.’s Reuben Gallery 1959.<br />

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Hans Namuth, Jackson Pollock at work, 1950<br />

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Allan Kaprow, Yard, 1961, Happening: Environmental artwork activated by performers & viewers.<br />

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19.36, Allan Kaprow, Photograph from Household, a Happening commissioned by Cornell University, 1964<br />

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Art Movement: Pop Art (1960s)<br />Backdrop was rise of consumer culture/ advertising/ celebrity<br />Pop Art was the union of art and popular culture. They embraced mass culture<br />Deal with the “new”, the “store-bought”<br />Pop artists borrowed images that were mass produced and made them repetitive<br />British Pop Art came first: Richard Hamilton<br />American Pop Art: Claes Oldenburg, Roy Lichtenstein, Andy Warhol<br />

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Pop Art<br />Pop artists made an effort to make viewers aware of the extent to which advertising and the production/consumption cycle dominated everyday life<br />America’s shared knowledge no longer came from “high culture” sources like literature, mythology, or religion, but rather from television, movies, and advertisements. Pop artists reflected this by blurring the distinction between art and consumption. <br />The movement examined the effects of consumerism on human thought, emotion, and creativity. It posed the question: what is more important, the thing or its image?<br />

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BRITISH POP<br />

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19.19, Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing?, 1956, collage, 10” x 9”<br />

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1960sAMERICAN POP<br />

30.
Claes Oldenburg, Soft Typewriter, 1963<br />

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Claes Oldenburg Soft Pay Telephone, 1963<br />“Basically collectors want nudes…so I have supplied for them nude cars, nude telephones, nude electric plugs, nude switches…”<br />

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19.41, ClaesOldenburg, The Store, 1961<br />

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Claes Oldenburg, Installation, Green Gallery, NY, 1962<br />

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19.43, Claes Oldenburg, Geometric Mouse, Scale A, 1969-71, Aluminum, Steel, and Paint, 12’ tall, Walker Art Center, Minneapolis<br />

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23.21, Claes Oldenburg, Batcolumn, 1977, Chicago<br />

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23.22, Claes Oldenburg, Spoonbridge and Cherry, 1985-88. Aluminum, stainless steel, and paint. Walker Art Center, Minneapolis<br />

37.
roylichtenstein (1923-1997)Photo: 1985<br />

38.
Roy Lichtenstein, Oh, Jeff…I Love You, Too…But.., 1964, 48” x 48”<br />

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Roy Lichtenstein, Blam, 1962<br />

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Roy Lichtenstein, Image Duplicator, 1963<br />

41.
Morris Louis, Saraband, 1959, over 8’ x 12’ Lichtenstein, OK Hot Shot, 1963<br />

42.
Andy Warhol (1928-1987) Self Portrait, 1960<br />

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Andy Warhol, Self Portrait, 1967<br />If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am…There’s nothing behind it.-Warhol<br />

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Andy Warhol, Untitled (Shoes), 1956<br />

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Andy Warhol, Roll of Bills, 1962<br />

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Andy Warhol,32 Campbell’s Soup Cans, 1961-2, acrylic on canvas, each 20 x 16”<br />

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19.58, Andy Warhol, Installation view of Campbell’s Soup Cans, Ferus Gallery, Los Angeles, 1962<br />

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19.57, Andy Warhol, 210 Coke Bottles, 1962<br /> “A coke is a Coke & no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good” <br />

49.
Andy Warhol, Ambulance Disaster, 1963<br />

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Andy Warhol, Black and White Disaster, 1962<br />“The more you look at the same exact thing, the more the meaning goes away, and the better & emptier you feel”.-Warhol<br />

51.
Andy Warhol, Electric Chair, 1964<br />

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Andy Warhol, Birmingham Race Riot, 1964<br />

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Andy Warhol, The Week that Was, 1963<br />

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19.59, Andy Warhol, Marilyn Monroe, 1962, Silkscreen ink on synthetic oil, acrylic, and silkscreen enamel on canvas, 20 x 16”<br />

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Andy Warhol, Monroe Diptych, 1962<br />