Kings County, Calif Essay, Research Paper
Kings County, Calif. West Hills Community CollegePOP ARTArt Appreciation 52CONTENTSI.POP ART 4II.ANDY WARHOL 5III.DAVID HOCKNEY 7LIST OF ILLUSTRATIONS1.Illustration 1: Roy Lichtenstrin, Whamm! , Cover2.Illustration 2: Andy Warhol, Cambell Soup Can 63.Illustration 3 David Hockney, A Bigger Splash 7 POP ART Art in which mundane objects and topics are depicted with theflat naturalism of advertisement or amusing strips. 1. Pop Art, ocular humanistic disciplines motion of the 1950s and 1960s, chiefly in the United States and Great Britain. The images ofpop art ( shortened from popular art ) were taken from massculture. The term Pop Art was foremost by the critic LawrenceAlloway to depict those pictures that celebrate post-warconsumerism, defy the psychological science of Abstract Expressionism, andworship the God of materialism.2 This was an art which hadnatural entreaty to American creative persons, populating in the thick of the mostblatant and permeant industrial and commercial environment. Forthe American creative person, one time they realized the tremendouspossibilities of their mundane environment in the creative activity of newsubject affair, the consequence was by and large more bold, aggressive, even overmastering, than in the instance of their Europeancounterparts. Some creative persons duplicated beer bottles, soup tins, amusing strips, route marks, and similar objects in pictures, montages, and sculptures. Others incorporated the objects themselves intotheir pictures or sculptures, sometimes in startlingly modifiedform. Materials of modern engineering, such as plastic, urethanefoam, and acrylic pigment, frequently figured conspicuously. As opposed tothe debris sculpturers, the gathering creative persons who have created theirworks from trash, the refuse, the safety of modern industrialsociety, the dad artists trade chiefly with the new, the & # 8221 ; boughten, & # 8221 ; the idealised coarseness of advertisement, of thesupermarket, and of telecasting commercials. One of the mostimportant artistic motions of the twentieth century, pop art non onlyinfluenced the work of subsequent creative persons but besides had an impacton commercial, in writing, and manner design.3American Pop art was foremost of all a major reaction againstabstract expressionism which had dominated picture in the UnitedStates during the ulterior 1940s and 1950s. During the ulterior 1950sthere were many indicants that American picture would return toa new sort of figuration, a new humanitarianism. Pop art brought art backto the material worlds of mundane life, to popular civilization in whichordinary people derived most of their ocular pleasance fromtelevision, magazines, or cartoon strips. The pictures of Lichtenstein, and Warhol, portion non onlyan fond regard to the mundane, platitude, or coarse image ofthe modern industrial America, but besides the intervention of this imagein an impersonal, impersonal mode. They do non notice on thescene or assail it like societal realist, nor do they laud it like the advertisers. They seem to be stating merely that this is the universe we livein, this is the urban landscape, these are the symbols, theinteriors, the still lifes that do up our ain lives.Andy Warhol, ( 1928-1987 ) One of the greatest Pop Artist or more good known as adirect representation of pop civilization is Andy Warhol. He was bornin 1928 and grew up during the depression and all the politicalshenanigans it had to offer during his life clip ( WW2, Watergate, Marilyn Monroe, etc. ) . Unfortunately his life ended in 1987, andno longer can he offer a cardinal yet apprehensible position onevery twenty-four hours life. He choose objects from day-to-day American life as wellthe faces of entertainers and of others with family names assubjects for his dad art work. It made no difference if his subjectwas of a object or personality, they were an built-in portion ofpostwar American civilization Warhol s work advertised familiaraspects of station war America, yet harmonizing to him it did non intendto keep any concealed significance, nor was it intended to knock ; thework of Andy Warhol was meant to merely show, in anunpersonal mode, how he perceived the universe around him. His technique used to make his images was silkscreening ( a mechanical procedure that allows images to berepeatedly infinitely ) . This machine-like component of thesilk-screen technique depicted suitably the industrialized
postwar American civilization which he had witnessed. Warhol hadexpressed it as a civilization ove
rburdened by disturbance thatseemed to be repeated and recreated. Warhol had choosepopular figures as subjects for an almost mass production ofimages, in a sense, dedicating his work his work to the worldaround him whose identity is comprised not only if these figures,but of technological advancements as well. In spite of his claimthat he is completely detached from his work and that he and hiswork are wholly on the surface, he did create some pieces whichseem to hold some type of deeper social commentary. Forexample, He manipulated his original silk-screen technique tocreate reverse images, to point more closely to the element ofdisturbance in postwar American culture. Essentially theyillustrated what he perceived as the dark side of fame. Similarlyhe seemed to comment on the intrusive nature of pop-cultureicons(i.e. Marilyn Monroe) in pieces such as Gold Marilyn, 1962. Eventually, Warhol began to create self-portraits using bothhis original silk-screening technique as well as his reversetechnique. this was an interesting choice of subject, and he mayhave decided to create this series of self-portraits because he wasrealizing his own role in pop culture. as an important pop artist,Warhol himself became a representation of pop culture, andtherefore an appropriate subject for his own work, Like the othertroubled personalities depicted in his various series of reversals,Warhol too encountered the hard ships of popularity. Hisreversals of himself revealed the dark, troubled aspects of hiscareer as a popular artist.4,5David Hockney, (1937- )English painter, draftsman, photographer, and set designer,known for his satirical paintings, his masterly prints and drawings,and his penetrating portraits of contemporary personalities.Technically, it is true to say that the Pop movement started withRichard Hamilton and David Hockney in England. Hockney’s earlywork made superb use of the popular magazine-style images onwhich much of Pop Art is based. However, when Hockney moved toCalifornia in the 1960s, he responded with such artistic depth to thesea, sun, sky, young men, and luxury that his art took on a whollynew, increasingly naturalistic dimension. His amazing success hasbeen based not only on the flair, wit, and versatility of his work, butalso on his colorful personality, which has made him a recognizablefigure even to people not particularly interested in art: His worksfrom the 1960s such as his series featuring Los Angeles swimmingpools and their denizens are painted in a bright and deliberatelynaive style, and their subject matter is drawn from popular culture. He has spent much of his time in the USA, and the Californianswimming pool has been one of his favorite themes. A BiggerSplash (1967, Tate Gallery, London) is one of his best-knownpaintings. It is simplistic rather than a simplified view of the world, itnevertheless creates a delightful interplay between the impassivepink verticals of a Los Angeles setting and the overflow of spray asthe unseen diver enters the pool. There is no visible humanpresence here, just that lonely, empty chair and a bare, almostfrozen world. Yet that wild white splash can only come from anotherhuman, and a great deal of Hockney’s psyche is involved in the mixof lucidity and confusion of this picture.6 Hockney’s wryness and wittogether with his talent for strong composition and design led him, atthe end of the 1960s, to a more naturalistic manner, particularly inhis portraits. His early paintings, often almost jokey in mood, gainedhim a reputation of leading Pop artist, although he himself rejectedthe label. In the late 1960s he turned to a weightier, moretraditionally representational manner, in which he has painted somestriking portraits (Mr. and Mrs. Clark and Percy, Tate, London,1970-01). Although not fully realistic, these works painted in hispreferred style of flat acrylic paints and profuse finely drawnlines provide sensitive, often heightened, representations of theirsitters. Hockney’s notable designs for operatic productions, for boththe Glyndebourne Opera in England and for New York City’sMetropolitan Opera, have met with critical and popular favor. DavidHockney photographs (1982) is an exploration of the medium and apartial record of his life. Composite Polaroid pictures, called joiners,such as Henry Moore (1982), are another example of Hockney’sphotographic work.7
