(left) Francis Bacon (British, 1909-1992), Head Surrounded by Sides of Beef, 1954, British Existential Figuration; (right) Eduardo Paolozzi (British, 1924-2005), Real Gold, collage, 14 x 19”, 1950, British Pop
The Blitz: FromSeptember 7 1940 through May 1941, the German Luftwaffe bombed British cities, especially London, almost nightly. Here London fire fighters extinguish flames following an air raid during. More than 43,000 deaths and 1,400,000 people made homeless
(left) Eduardo Paolozzi, Its a Psychological Fact That Pleasure Helps Your Disposition, 1948, collage. Affirmative or adversarial (avant-garde) posture? Shown in his influential 1952 “Bunk” lecture that marks the beginning of British Pop. “Bunk” is from Henry Ford: “history is more or less bunk….we want to live in the present.” (right) Hannah Höch, The Beautiful Girl, collage (photomontage), 1919, Berlin DadaAdversarial posture toward commercial culture
(left) Richard Hamilton, Just What is it That Makes Today's Homes So Different, So Appealing? Collage (photomontage), 10 x 9”, 1956, British Pop 1964
The Independent Group’s “This is Tomorrow” exhibition, 3 installation views, 1956, Whitechapel Gallery (Institute of Contemporary Art) London
Richard Hamilton, (left) Towards a Definitive Statement on the Coming Trends in Men's Wear and Accessories (a) Together Let Us Explore the Stars 1962; (right) $he, 1958-61, both oil & collage on canvas, British Pop
(left) Hamilton, The Large Glass or The Bride Stripped Bare by her Bachelors, Even, 1963, an exact copy and homage to (right) Marcel Duchamp, The Large Glass or The Bride Stripped Bare by her Bachelors, Even 1915-23; (center) Photo of Duchamp by Hamilton, c. 1968
HANS NAMUTH, 25th Anniversary of Leo Castelli Gallery, The Odeon, New York 1982Standing left – right: Ellsworth Kelly, Dan Flavin, Joseph Kosuth, Richard Serra, Lawerence Weiner, Nassos Daphnis, Jasper Johns, Claes Oldenberg, Salvatore Scarpitta, Richard Artschwager, Mia Westerlund Roosen, Cletus Johnson, and Keith SonnierSeated left – right: Andy Warhol, Robert Rauschenberg, Leo Castelli, Ed Ruscha, James Rosenquist, and Robert Barry
Andy Warhol (American, 1928-1987), Bonwit Teller window decor, NY, April 1961; (left) Dick Tracy, 1960, casein and crayon, 48” high;A Boy for Meg, 1962oil on canvas, 72” high
Andy Warhol, Campbell’s Soup Cans, 1962, acrylic on canvas, 32 works, each 20x16”Pop Art; (lower right) Ferus Gallery, Los Angeles, 1962. Warhol’s first gallery show.
Jasper Johns (American, b.1930), Painted Bronze, hand painted cast bronze, 1960, Proto-Pop (Neo-Dada); (right) Warhol, Campbell Soup Can, 1968, Pop Art
Andy Warhol and Gerard Malanga silk-screening in The Factory, 1967, located on the fifth floor at 231 East 47th Street, in Midtown Manhattan. The Factory moved to 33 Union Square West in 1967.
(right) Warholstars group portrait by Gerard Malanga, 1968(?); (left) film still and poster for Warhol's film Exploding Plastic Inevitable, 1966, with the Velvet Underground. The Andy Warhol Museum owns 273 Warhol films and almost 4,000 videotapes. “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.” - Andy Warhol
Warhol, (left) Gold Marilyn Monroe, 1962, acrylic, silkscreen and oil on canvas; (right) Marilyn, 1962. Series followed Monroe’s (probable) suicide in August 1962.
Warhol, (left) Jackie, The Week That Was, 1963 (right) Suicide 1963, Acrylic and silkscreen, 6 ft high
Warhol, Five Deaths Eleven Times in Orange, synthetic polymer paint, silk-screened on canvas, 1963
Warhol, (left) Lavender Disaster, 1971; (right top and below) Electric Chair, 1971, screenprints. “Everything I do is connected with death.” (Warhol, 1978)
Andy Warhol, Brillo Box, 1964, acrylic and silkscreen on plywood, 17 x 17 x 15 in “Greenberg’s narrative … comes to an end with Pop … It came to an end when art came to an end, when art, as it were, recognized there was no special way a work of art had to be.” - Arthur Danto (1964) After the End of Art, 1997 “Is an endless playing with the definition of art all that art now has to offer?” - Charles Harrison “Conceptual Art” (Themes) At the Tate Modern: the conundrum
Roy Lichtenstein (American, 1923-1997), cover of Newsweek, 1966, New York Pop Art
Roy Lichtenstein’s educational background: (left) Reginald Marsh (Lichtenstein’s teacher at the Art Students’ League, NYC), Why Not Take the “L”?, oil on canvas, 1930 (right) Flash Lab, Ohio State, where Lichtenstein studied 1942-44
Roy Lichtenstein, Girl With a Ball, 1960 compare with Andy Warhol, Dick Tracy, 1960, New York Pop Art
Roy Lichtenstein, WAAM! 1963, Magna on canvas, 2 panels; 68 x 166 inches overall; source, Men at War comic book, 1962 “Lichtenstein was not painting things but signs of things.” Fineberg
James Rosenquist,President Elect, oil on masonite, 12 feet wide, 1960-1 (New York Pop Art); (right) mockup for painting and (below) artist in studio“I’m interested in contemporary fission – the flick of chrome, reflections, rapid associations, quick flashes of light. Big-bang! Bing-bang! I don’t do anecdotes; I accumulate experiences.”
Rosenquist,(left) right & left halves of F-111, installation, oil on canvas and aluminum, 10 by 86 feet, 1964-5, The Museum of Modern Art, NY
Marisol, (left) Bob Hope, wood (carved, assembled, pencil and paint), 1967; (right) Hugh Hefner, 1967, wood, paint, mixed media
Marisol Escobar (Marisol Escobar) (American, born France, 1930, to Venezuelan parents) The Cocktail Party, an assemblage of 15 free-standing figures and wall panel with carved and painted wood, cloth, plastic, shoes, jewelry, mirror, television set and other accessories, 1965-6
Claes Oldenburg, Snapshots from the City, performance with first wife, Pat Muschinski, at Judson Gallery, Judson Memorial Church, New York. February 29, March 1-2, 1960. Performance / Happening at Oldenburg’s “Ray Gun Theater”(right) The Street installation 1960
Claes Oldenburg, The Store, Dec. 1, 1961 - Jan. 31, 1962, Ray Gun Mfg. Co., 107 East Second Street, New York. Roast Beef, 1961, inside studio/store (with artist), view looking out, poster, Green Gallery sponsor. “I am for an art that is political-erotic-mystical, that does something other than sit on its ass in a museum”
Claes Oldenburg (American, born Sweden, 1929). Pastry Case, I. 1961-62. Painted plaster sculptures on ceramic plates, metal platter and cups in glass-and-metal case, 21 x 30 x 15," New York Pop Art "I make my work out of my everyday experiences, which I find as perplexing and extraordinary as can be.“ Oldenburg, 1960
Claes Oldenburg. (American, born Sweden, 1929). Green Gallery Installation (2 views), 1962; Floor Cake (right) 1962. Synthetic polymer paint and latex on canvas filled with foam rubber and cardboard boxes, 58 3/8" x 9' 6 1/4" x 58 3/8“. Pop Art
Oldenburg, Giant Lipstick, erect (left) and limp (center), Yale University, 1969. Anti-Vietnam war
Claes Oldenburg, Clothespin, 1976, Cor-Ten and stainless steels, 45 ft. x 12 ft. 3 in. x 4 ft. 6 in., Centre Square Plaza, Philadelphia. Scale. Carnivalesque humor in public art, as well as inside art world joke in allusion to Brancusi’s 1909 Kiss (above).
Wayne Thiebaud (US, b. 1920), Five Hot Dogs, 1961, o/c, 18 x 24 in, Whitney MAA Thiebaud earned a BA degree from Sacramento State College in 1941 an M.A. degree in 1952.
Edward Kienholz (US, 1927-1994), Back Seat Dodge ’38 (two views), 1964, tableau with truncated Dodge and mixed materials (plaster casts, beer bottles, chicken wire, artificial grass, etc.) Los Angeles Funk
Kienholz (left) The Wait, 1964-65, tableau, life size(right) The Beanery, 1965, mixed media, tableau, life size
Kienholz, Ed, The State Hospital (INTERIOR), 1966, Tableau: plaster casts, fiberglass, hospital beds, bedpan, hospital table, goldfish bowls, live black fish, lighted neon tubing, steel hardware, wood, paint 96 x 144 x 120 in. Moderna Museet, Stockholm
Kienholz, Ed, The State Hospital (EXTERIOR), 1966, Tableau: plaster casts, fiberglass, hospital beds, bedpan, hospital table, goldfish bowls, live black fish, lighted neon tubing, steel hardware, wood, paint 96 x 144 x 120 in. Moderna Museet, Stockholm
Betye Saar, The Liberation of Aunt Jemima, mixed-media assemblage, 1972 Joseph Cornell,Medici Boy
Robert Arneson, John with Art, 1964, glazed ceramic with polychorme epoxy, life size, Seattle Art Museum gift of Manuel Neri
Robert Arneson, Typewriter, 1966, glazed ceramic, around 6 x 11 x 12,” UC Berkeley Art Museum