pop art. jasper johns: targets, flags, numbers, letters richard hamilton: collage robert...

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Pop Art

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  • Slide 1
  • Pop Art
  • Slide 2
  • Jasper Johns: targets, flags, numbers, letters Richard Hamilton: Collage Robert Rauschenberg: Assemblages Roy Lichtenstein: Comics Andy Warhol: Silk-screen mass media + videos Claus Oldenberg: mass media sculptures
  • Slide 3
  • As Johns explained, the imagery derives from "things the mind already knows," utterly familiar icons such as flags, targets, stenciled numbers, ale cans, and, slightly later, maps of the U.S. assemblauge: recombining (assembling) stuff to create new meaning.
  • Slide 4
  • Slide 5
  • White Flag, 1955 Jasper Johns (American, born 1930) Encaustic, oil, newsprint, and charcoal on canvas
  • Slide 6
  • Johns, Three Flags, 1958, encaustic on canvas
  • Slide 7
  • Johns, Flag, (comp colors), 1965 The Seasons (Summer), 1987 Jasper Johns (American, born 1930) Etching with aquatint
  • Slide 8
  • Jaspar Johns, Field Painting, 1963/64 Roommate with Robert Rauschenberg Robert Rauschenberg, Estate, 1963
  • Slide 9
  • aesthetic of popular culture popular art + fine art inspired by Duchamp mass media advertising popular culture mass media
  • Slide 10
  • Hamilton Interior Screenprint, 1964
  • Slide 11
  • created combines combining painting with sculpture There is no no more subject in a combine [By Rauschenberg] than there is in a page from a newspaper. Each thing that is there is a subject. It is a situation involving multiplicity. John Cage *found materials in trash recontextualization *viewers should find their own meaning Duchampian
  • Slide 12
  • Rauschenberg, Odalisk, 1955-58 "Every time I would show them to people, some would say they're paintings, others called them sculptures. And then I heard this story about Calder," he said, referring to the artist Alexander Calder, "that nobody would look at his work because they didn't know what to call it. As soon as he began calling them mobiles, all of a sudden people would say 'Oh, so that's what they are.' So I invented the term 'Combine' to break out of that dead end of something not being a sculpture or a painting. And it seemed to work." Odalisk combines oil paint, watercolor, crayon, pastel, paper, fabric, photographs, printed reproductions, miniature blueprint, newspaper, metal, glass, dried grass, steel wool, a pillow, a wooden post and lamps on a wooden structure mounted on four casters and topped by a stuffed rooster.
  • Slide 13
  • Rauschenberg, Estate, 1963 oil, silk screen, collage primary colors recognizable images vs. everyday images Rauschenberg aimed in the silk- screened paintings to make a surface which invited a constant change of focus and an examination of detail.
  • Slide 14
  • Rauschenberg, Retroactive I, 1963, oil, silkscreen, collage
  • Slide 15
  • Robert Rauschenberg Collage Project This project is inspired by the collage techniques and visual aesthetics of Robert Rauschenberg and Richard Hamilton. You will need to consider what images are most iconic to the 21 st century (Presidents, celebrities, electronics, politics, religions, etc.). Using only newspapers and magazines, create a collage in the style of Retroactive I & Retroactive II that speaks directly to life in 2014. Requirements: 1.Use only images from newspapers and magazines: you may need to bring some from home 2.Project must include primary colors from oil pastels, paint, colored pencils, etc. 3.The collage must be unique and creative (think about placement of images, texture, cropping, etc.) 4.Size must be 8.5 x 11 (printer paper size) 5.We will work in class tomorrow and present the following day
  • Slide 16
  • *benday dots
  • Slide 17
  • Lichtenstein, M- Maybe (A Girl's Picture), 1965
  • Slide 18
  • Lichtenstein, Blam, 1962
  • Slide 19
  • mass produced silk screen prints were sold to fund Warhols independent films. The Factory repetition causes numbness Interview
  • Slide 20
  • Warhol, Campbell's Soup Cans, 1965, silkscreen Merv Griffin Interview, 1965 Andy Warhol, Brillo Soap Pads, 19641969
  • Slide 21
  • Slide 22
  • Andy Warhol famously told Art News interviewer Gene Swenson, "The reason I'm painting this way is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do." Liz #1 (Early colored Liz) acrylic and silkscreen Warhol "was not after a picture-perfect, sharp- edged result; he wanted the trashy immediacy of a tabloid news photo."
  • Slide 23
  • Warhol, Elvis I & II, 1964
  • Slide 24
  • Independent Films by Warhol Andy Warhol Eating a Hamburger, 1981 Flesh, 1968
  • Slide 25
  • Slide 26
  • Claus Oldenburg, Floor Cake, synthetic polymer paint and latex on canvas filled with foam rubber and cardboard boxes, 1962Floor Cake
  • Slide 27
  • After watching the short video on Floor Cake, answer the following questions: 1.What are your impressions on this work of art? 2.Do you like this piece? Yes/No WHY 3.What makes this sculpture POP Art?
  • Slide 28
  • Slide 29
  • Oldenburg, Claes, & Coosje Van Bruggen, Spoonbridge and Cherry, 1988
  • Slide 30
  • Oldenburg, Clothespin, 1976
  • Slide 31
  • Oldenburg, Coltello Knifeship II, 1986
  • Slide 32
  • Oldenburg & Van Bruggen, Torn Notebook, 1992-96