What Did Mass Production Have to Do With Pop Art
Pop Fine art is said to have sprouted from a widespread decision to look at the gimmicky world with a positive attitude. The Pop Art move is known for its carnival aspects, its orgiastic color and giant scale; it is clearly an alternative to the emotional and technical themes belonging to its immediate predecessor, Abstract Expressionism. [1] The chief subject affair of Pop is 'teenage culture' and that is a thing which does incorporate a lot of hostility and is also far from the accepted channels of art. Near of the American trends that are emphasized in Popular Fine art are frowned upon in Europe, simply the underlying mood of nigh of the works is "determined optimism," which is an optimism not always recognized past those viewers who do not share it. [2] When viewing the many works that employ commercial products and advertisements in a inexpensive-looking way it is hard to come across the underlying tones of optimism. The repeated objects in Andy Warhol's and Wayne Thiebaud's works exercise not seem very optimistic, instead they seem to emphasize the thought that over-production detracts from a once pleasurable concept or object.
The showroom begins with Jasper Johns's hand-painted ale cans considering they foreshadow the emphasis that will exist placed on the bodily labels and advertisements of the art works to follow, without themselves existence part of the mass production. A quick leap to the work of Richard Hamilton provides vast insight into what the fantasy lifestyle and body images of the time would have been. [3] The collage shares many qualities with Tom Wesselmann's still lifes that use pasted advertisements on of top of some other to create an overwhelming and slightly icky combination each fourth dimension. The collages and use of popular ads helped with the popularity of some art works while all the same not providing an entirely "optimistic" view of the contemporary.
Peter Blake stands on his own in a way because he focuses on nostalgia in most of his works and creates a magical feeling behind mass-produced objects to create a sentimental feeling in the viewer. [4] Claes Oldenburg provides an entirely unlike concept and almost pokes fun at the consumer with his installation of the Store 107 East Second Street which really existed in Manhattan; he produced and sold objects that would have been found in various different kinds of stores and threw them all together in a sort of close-out auction type setting. Oldenburg transitioned quickly from the ironic objects sold in his store to monstrous and grotesque food objects that would sit on the floor in exhibits. He created works titled Floor-Cake, 1962, and Two Cheeseburgers with Everything, 1962, that were both completely oversized and looked like stuffed pieces of colored vinyl. The objects barely represent pieces of food. It southwardeems every bit if the but justification behind them is to disgust the viewer.
Nosotros can see a motility away from formal painting of the movements that preceded Pop because there is more sculpture and industrial material use. Ev en when paintings are done they are made to look like printed advertisements and the goal of the works was not to show the artistic craftsmanship. Claes Oldenburg points this out:
"Painting, which has slept so long in its gold crypts, in its glass graves, is asked to get out for a swim, is given a cigarette, a bottle of beer, its pilus rumpled, is given a shove and tripped, is taught to laugh, is given clothes of all kinds, goes for a ride on a bike, finds a girl in a cab and feels her upwards…" [5]
While in that location were many positive attributes to the new technologies of the sixties, the Popular artists in this group do not seem to be making that concept very clear. While this was a post-war transition period that did have a significant increase in product, the artists seem to have a hard time showing the pleasurable side of these products and technologies.
[1] Lippard, Lucy R. Pop Art. New York: Praeger, 1966.
[3] McCarthy, David. Pop Fine art. Cambridge: Cambridge University Press, 2000.
[5] Lippard, Lucy R. Popular Art. New York: Praeger, 1966.
Selected Works
Jasper Johns,Painted Bronze (Beer Cans), 1960, VAGA, NY
While Johns's Beer Cans are not fully a part of the Popular Art Motility they clearly set up the tone for mass produced products in art to follow. These bronze cans are clearly mitt-painted and did not intend to reproduce the commercial labels that much of the Popular Art to come would. They combine a "quasi-expressionist technique" with a "commercial motif." The beer cans precede the motion that would attempt to remove artistic remnants and supervene upon them with a "newly-minted mass-produced aura typical of Pop." These cans still have character whereas the repeated Campbell's soup cans of Warhol in the about futurity would not.
Richard Hamilton,Just what is information technology that makes today's homes so unlike, so appealing?, 1956, Kunsthalle Tubingen, Prof. Dr. George Zundel Collection
The question posed in the title of Hamilton's work is answered by all of the objects depicted in the collage. The homes of the post-state of war era are appealing due to new technologies including television set, talking films, and tape recorders. Domestic conveniences such every bit vacuum cleaners and tinned ham let consumers to spend time pursuing other pleasures. The couple in the collage is but as well designed as the technologies that surround them. Substantially, the consumer fantasy world depicted provides the desired escape from the monotonous post-war life of Nifty United kingdom. The work is a collage largely equanimous of advertisements which helps to establish dominant themes of the Pop Art motility.
Tom Wesselmann, Even so Life No. 24, 1962, Nelson-Atkins Museum of Art, Kansas City, Missouri
Wesselmann created many nonetheless lifes that used the same techniques of Peter Saul and Wayne Thiebaud of saturated colour, congested space, and commercial products and advertisements. The object of these nonetheless lifes is to mimic the "jarring visual language" of the advertisements and to raise throw-away objects to the status of fine art. Candy food was seen by many as a symbol of American affluence during the sixties despite the fact that the products represented in the works were available to people of most classes. The art works depicting these commodities were available to many people every bit well, and it is thought that the success of certain products contributed to the success of some of the art works that depict those products.
Peter Blake, Toy Shop, 1962, Tate Gallery
Blake is a Pop artist who was interested in nostalgia, which is definitely present in this work. Blakehoped to preserve quondam popular objects and use them to recapture the present. In this mock store front are Union Jacks, tin automobiles and airplanes, plastic soldiers, amongst other mass-produced items from Blake's babyhood. The feeling that is generated from this Popular Art work differs from the ideas emphasized in most that nosotros have explored in this showroom. The feeling is romantic and underlines the desire of Popular Fine art to force the view to recognize objects that would be disregarded in everyday life by framing them with a "magical force."
Claes Oldenburg, Store 107 East 2nd Street, installation view, 1961, NY
This work is an actual store that Oldenburg opened in Manhattan on the Lower East Side where he created and sold an odd array of objects that he made from roughly painted plaster. The items are of strange proportions or big scale and range from women's lingerie to rib middle steak. The objects play on the idea of commodity and art and they were done in an "'Everything must go' auction" fashion, meaning they were piled high and laid out on counter tops. All of the objects were for sale and the Large Sandwich would get for $149.98, the relief of the rumpled girdle for $249.95. Oldenburg is playing on the idea of consumerism past making the piece of work of art literally a consumerist environment.
Wayne Thiebaud, Shoe Rows, 1975, Collection of Betty Jean Thiebaud, NY
Thiebaud is known for using a variety of mundane objects from cafeteria and bakery counters to ladies' shoes. While his works do have much more of a painterly quality to them, the repetition of objects all the same strives towards emphasizing mass product. In this work there are no two identical shoes but the manner that they are placed all facing the same direction and within the aforementioned range of colors makes them feel very similar to one another. Thiebaud is said to be "methodical in his ability of visualization." The field of study of the work always remains eye to the experience while the background is secondary.
Claes Oldenburg, Floor-Cake (Giant Piece of Cake), 1962, Museum of Modern Art
Oldenburg moved quickly from the 'saleable' objects he made in the Shop 107 East Second Street to monstrous sized, grotesque figures of nutrient. Oldenburg had a clear attachment to materials, and he particularly took to those that seemed to have a life of their own, this gave him a sort of 'Popular automatist' attitude, which is a vein of Surrealism. Unlike most Surrealists even so, Oldenburg always let the objects stand on their own and did not juxtapose them with anything.
Source: https://popartfromlighttodark.wordpress.com/mass-consumption/
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