Pop Art

In the spring of 1968, J. G. Ballard drafted an eight-page outline for a multi-media 'science theatre presentation' called 'Crash!' It was to be performed at the Institute of Contemporary Arts (ICA). Although the event was teasingly promoted in a full-page feature in the Sunday Mirror newspaper ('A Star Role for the Beloved Monster that Lives on Sex and Sacrifice'), the performance did not take place. The narrator was to have been Ballard's close friend, the psychologist and computer scientist Chris Evans. According to Ballard's autobiography, Miracles of Life, Evans was the physical model for Vaughan, 'the auto-destructive hero of my novel Crash'. Evans – who worked at the National Physical Laboratory at Teddington, not far from Shepperton, where Ballard lived – died in 1979. Following his death, Evans's papers, which included his copy of the 'Crash!' outline, were packed away, undisturbed until recently. In the summer of 2017, Nancy Evans donated to the British Library her husband’s copy of the outline, the only surviving text. This article reproduces Ballard's typescript in full, discusses its relationship to the novel Crash (1973), and explores the context of the ICA.

Essay from Catalogue " Walasse Ting, the Flower Thief" . Exhibition held at Musee Cernuschi, Paris, October 2016-February 2017.
In the article I try  to understand how such an important artist, actively engaged with some of the most celebrated post-war art mouvements could become so unvisible in the narrative of both Chinese and Western contemporary art historiographies.

One of the biggest art movements of the 20th Century, Pop Art has been shaped by the demands of consumer society. In contrast to the elitist conception of art, postmodernism used popular images and became the art of consumer society. Employing images from the popular culture, it sought to elevate its objects to highbrow clientele. In this context, some saw Pop Art as a field whereby popular culture, which essentially belonged to common people, was utilised by the dominant classes to penetrate into the emotions and thoughts of people, eventually aiming to fortify their hegemony. Pop Art was defined as kitsch, decadent or banal for using the popular images from mass culture. Debates over popular culture versus high culture have started to set the tune in art theory.

The paper examines the “Andy Warhol” Millennium Show exhibited at the State Hermitage Museum in Saint Petersburg in 2000 and at the Pushkin State Museum of Fine Arts in Moscow in 2001. It first discusses why the U.S. government organized this show as part of America’s millennium celebrations abroad and why it chose Andy Warhol as America’s millennium artist. It then proceeds with explaining the political and art historical contents of the show, as well as its public reception by both the Russian media and the Russian artworld. The paper concludes that the “Andy Warhol” Millennium Show, despite its direct interrelatedness with the symbolic diplomatic ceremonial of millennium celebrations, was a groundbreaking cultural event, as it managed to familiarize the Russian public with key works of American Pop Art and with this build a “cultural” bridge between the U.S. and Russia in the post-Cold-War era.

Gli artisti Squarci e Scalet con il nome di HackaTao si muovono lungo il cammino che dagli anni '60 e dalla cultura Pop arriva al Pop Surrealismo contemporaneo. Richiamando momenti importanti della storia dell'arte recente sviluppano i temi e le tecniche con ricchezza e approfondimenti artistici e concettuali. Il saggio è base dell'intervento all'inaugurazione della mostra Fight Fear presso il Circolo Maeci, in cui il Pop Surrealismo incontra interiorità e razionalità per il governo e il superamento delle paure.

Yale Editor's Note: This new interpretation of the structure and meaning of the Happenings produced by Allan Kaprow (1927–2006) and Claes Oldenburg (b. 1929) in the late 1950s and 1960s sheds light on the context, theoretical framework, and working practice unique to this groundbreaking artistic form. Drawing on extensive archival research and including never-before-published drawings by Oldenburg, Robert E. Haywood describes the dialogue – at times contentious – between these two artists about the direction of the Happenings and modern art in general. Through a comprehensive analysis of these often overlooked works, it becomes clear that the Happenings—born in the midst of Cold War tensions and an increased uneasiness with the direction society was taking—challenged the traditional definitions of art in innovative new ways and were a critical component in the development of the art of the 20th century. http://roberthaywoodarthistory.com

Catalogue entry on collective artists book 1 Cent Life, edited by Walasse Ting, Sam Francis and Eberhard Kornfeld in 1964 .From the English version of the catalogue Walasse Ting, the Flower Thief, Musee Cernuschi, 2016.
The book is a collection of lithographies by some of the most important American and European artists of the time.

Guglielmo Achille Cavellini (Brescia 1914 - 1990) costituì una delle più importanti collezioni italiane d'arte contemporanea; continuamente aggiornata ad iniziare dagli anni Cinquanta, dalle tendenze astratte europee fino  alla New York School (Kline, Tobey, Rauschenberg),  alla pop art italiana,  inglese e americana ( Warhol, Dine, Wesselmann) e agli esordi dell'Arte Povera italiana degli anni Settanta

Hace cien años, en un día como hoy, un químico de veinticuatro años inventó los Estados Unidos de América. John T. Dorrance era el nombre de este héroe del capitalismo, cuya nación no le ha rendido aún los honores del caso. Para hacerle justicia, debería ser considerado un pionero más auténtico que los remedados por John Wayne y la estirpe toda de los conquistadores del Oeste. Su contribución, modesta, adquiriría los visos de una gran hazaña. La genialidad de Dorrance tiene algo de la lógica que Sigmund Freud atribuye al sueño y al inconsciente: es el arte de la condensación.

O presente trabalho buscou traçar, de forma sucinta, mas não superficial, os caminhos da Pop Art enquanto um novo período da História da Arte
Contemporânea. Evidenciar seus preceitos, e principalmente as rupturas que ela trouxe, ao ser comparada com o que havia sido feito até então.
Sobre o título do trabalho, pode-se destacar, que aprecio e vejo os conceitos da Pop Art representados pelos trabalhos de Roy Lichtenstein. Portanto, ao fazer as considerações presentes aqui, o fiz pensando a partir dele. O trabalho, apesar de realizado em um texto único, divide-se em duas partes, a primeira delas um breve relato do que entendo por Pop Art, uma narrativa que a situa no tempo e espaço, a partir da década de 1960 em solo norte-americano. Onde procurei explicar as principais ideias e conceitos necessários para a compreensão da segunda parte. Esta por sua vez, esta centrada na terceira fase da produção artística de Lichtenstein, embebida em todo o processo social do pós Segunda Guerra Mundial. O propósito do trabalho de investigação, é que ao final, possa ser
compreendida a tensão vivida pelas artes visuais através do advento da Pop Art; e como Lichtenstein, através de suas obras, fez uso de elementos dantes “pormenorizados”, contribuindo no processo de questionamento, do que poderia, ou não, ser considerado e percebido como arte.

This paper seeks to situate architecture between the ridiculous and the profound using pop art as a medium. Andy Warhol’s “piss paintings” also known as Oxidation paintings are the subject of study in this paper. A recent call to design a museum dedicated to the work of Warhol in New York envisioned the museum as a vital forum in which diverse audiences of artists, scholars, and the general public become galvanized through a ‘creative interaction’ with the art and life of Warhol. The controversial subject of Warhol’s work presented us with several critical inquiries and challenges as to what constitutes as creative public interaction? We critically examined the relationship between pop art, architecture, and the ability to confront ridiculous realities that engage the public in a profound yet controversial act. We present our proposal as an act of structured vandalism which is supported by architecturally yet humorous illustrations.

Ever since Linda Nochlin's seminal essay asked Why Have There Been No Great Women Artists? feminist scholars have undertaken the daunting task of re-positioning history's forgotten women artists. Among them is Jann Haworth born in 1942 in Hollywood, California, whose early career emerged in the "swinging London" of the 1960s. There she encountered tutors like Reg Butler, who stated that he was certain that "the vitality of many female students derives from frustrated maternity…" 1 The fact that she was an American woman working in Britain creating soft sculptures, using materials that were often coded as feminine, doubly marginalized her work in the art historical record. My research closely examines the structures that contributed to her marginalization and works to re-position her within an expanded history of Pop Art.

İnsan kişiliği, geçmişten günümüze araştırmacıların merakını canlı tutan bir konu olmuştur. Kişilikle alakalı farklı görüş ve teoriler öne sürülmüş, her biri kişiliği kendi bakış açısıyla irdeleyip yorumlayan pek çok kuram ortaya çıkmıştır. Söz konusu kuramlardan Hans Eysenck’in Biyoloji Temelli Faktör Analitik Ayırıcı Özellik Kuramı ile Andy Warhol’un kişiliğini tanımlamak bu çalışmanın amacıdır. Newyork’ta ünlü bir illüstratör olana dek Andrew Warhola ismiyle tanınan Andy Warhol, yaşadığı dönemin sosyal, ekonomik, kültürel yapılarından etkilenmiş ve bu yapıları etkilemiş; aynı zamanda film yapımcılığından yazarlığa, tasarımcılıktan ressamlığa birçok sahada verdiği eserler, eserlerde işlediği tema, kullandığı kendine özgü yöntem, teknik ve eserleri aracılığıyla endüstri ve beraberinde oluşan tüketim toplumuna getirdiği alaycı, ironik ve eleştirel yorumlarla adından sıkça söz ettirmiş bir sanat insanıdır. Warhol, öz olarak “Sanat herkes için aynıdır.” şeklinde bir düşünceye sahip olup bu düşünceyi eserlerine de yansıtmış, sanat ile halk arasındaki mesafeyi ortadan kaldırmak istemiştir. Bunların yanında kaza, suikast, intihar, ölüm gibi yıkıcı temaları önemsizleştirmek için eserlerine taşımış, kapitalist üretime tepki koymak adına pek çok insana göre sanat eseri olamayacak nesneleri, metalaştırmaya eleştiri adına dönemin popüler isimlerini, ünlü ressamların tablolarını teknik anlamda seri üretime sokmuş, hatta Leonardo Da Vinci, Sandro Botticelli, Raphael gibi ünlü isimlerin Mona Lisa, Son Akşam Yemeği, Venüs’ün Doğuşu, Sistine Madonna ve benzeri tablolarına yaptığı göndermeler ile sanat tarihinin yüceltilmiş mitlerini dahi alaycı bir tavırla sıradanlaştırmaya çalışmıştır. Böylesi bir sanat insanının kişiliğini oluşturan dinamiklerin araştırılması çabasıyla çalışma kapsamında, nitel araştırma yöntemlerinden faydalanılarak otobiyografi ve biyografisinden yapılan çıkarımlarla Warhol’un kişilik tanımı yapılmıştır.
Warhol’un kişilik özelliklerinden hareketle Hans Eysenck’in kuramındaki içe dönüklük – dışadönüklük, nevrotizm – duygusal kararlılık ve psikotizm – süperego gücü uçlarındaki konumu yönüyle irdelenmesi çalışmanın Bulgular ve Yorum bölümünü oluşturmuştur. Bulgular ışığında Warhol’un kişilik tanımının yapılmasıyla çalışma sonlandırılmıştır. Bu çalışma, sunduğu yöntemle gelecekte tek tek sanatçıların kişilik tanımının yapılmasıyla ait oldukları grupların karakteristik özelliklerine dönük tümevarımlar yapmaya imkan sağlama potansiyeli bakımından önem taşımaktadır.

Marcel Duchamp’s controversial decision to produce an edition of replicas of his best-known readymades in 1964 remains one of the more puzzling and unexpected moves in a career already identified with defiance and provocation. Duchamp’s decision to sell reproductions of the readymades challenged his own customarily anti-commercial approach to art, eliciting unfavorable responses from his contemporaries and followers. In this article I intend to demonstrate that the 1964 edition of the readymades was the culmination of a series of events that motivated Duchamp to more firmly establish himself as the foundation of the Pop art movement. Duchamp’s decision to create an edition of the readymades also came shortly after he first met Andy Warhol in Pasadena in 1963, at which time Duchamp would certainly have been thinking about his legacy and how it would come to measure up against the new generation of appropriation artists. It is also impossible to consider these replicas without taking into account that they were produced during Pop’s meteoric rise. With this study, I hope to emphasize that the reciprocal impact of Pop on Duchamp is just as important in shaping our current understanding of the readymade.

A közel fél évszázada Szentendrén élő ef Zámbó István nonkonformista, formabontó művész. Ösztönösen, műfaji megkötöttségek nélkül dolgozik: rajzol, fest, szobrokat formál, szövegeket ír, filmeket forgat, zenél, performanszokat, happeningeket hoz létre. A művészet számára
életforma, felfogásában a leghétköznapibb cselekvés is lehet művészi aktus. Filozófiai eszmefuttatások, kiáltványok, manifesztumok kísérik életművét, alkotásaival és írásaival sajátos magánmitológiát teremt. Legendás események résztvevője és szervezője, nevéhez fűződnek a szentendrei Szabadtéri Tárlatok, a Fő téri Nalaja Happening, a Vajda Lajos Stúdió és az A.E. Bizottság megalapítása.
István ef Zámbó, who has lived in Szentendre for nearly half a century, is an unconventional, non-conformist artist, who works instinctively, without being restrained by any genre. In addition to drawing, painting and sculpting, he also writes texts, shoots films, plays music, organises
performances or happenings. He considers art to be his lifestyle, therefore even his most everyday acts can be regarded as part of his art. His life-work is full of philosophical ideas and manifestos. In his works and writings, he creates a unique personal mythology. István ef Zámbó
has been the participant and organiser of legendary events, such as the Open-Air Exhibitions of Szentendre or the Nalaja Happening in Main Square. He is also credited with the establishment of the Vajda Lajos Studio and A.E. Bizottság (a Hungarian band).

In the US context Fluxus is understood as an advance of the '60s radicalism. The assumption that Fluxus was opposed to consumption culture, as that embodied by Pop art, is among the interpretations that renew such a view. Examining the example of Implosions Inc., a short-lived but nevertheless interesting commercial enterprise formed by Robert Watts, Herman Fine and George Maciunas in 1967, this essay focuses its attention on the complex relationship between Fluxus and commercial culture. Implosions Inc. was a project in which many Pop artists were asked to participate along with its Fluxus founders, and it was intended as another step forward in the transformation of the artist into a commodity mass-producer. In analyzing this phenomenon, this article questions assumed principles in the Neo-avantgarde theory like the distinction between art production and culture consumption. The essay, however, will try to establish another paradigm that draws the differences between Pop art and Fluxus as the kind of audiences both these tendencies tried to conform. As a conclusion, the article fleshes out some ideas on individualism that were developed by Maciunas, which shed light on the notions surrounding the idea of collectiv-ism as developed in Fluxus.

La particularité de cette présentation est de mettre en avant des images qui ne sont pas directement réalisées par Warhol. En partant d’images d’archives qui témoignent de la vie à la Factory (et au-delà), nous mettrons en avant plusieurs questionnements qui cherchent à articuler la place de l’artiste dans son œuvre : processus de création, corps en représentation, rapport à l’exhibitionnisme et au voyeurisme. Nous souhaitons établir un discours qui cherche à dépasser la question maintes fois rebattue de sa relative passivité pour montrer au contraire son rapport dynamique à l’image (interviews face caméra, performativité du geste créateur, image de soi.).

En este trabajo se pretende abordar la compleja figura de Salvador Dalí en relación con las artes y sus  diferentes manifestaciones. Así como las analogías con otros artistas de su tiempo. En el trabajo se compara las miradas de este artista  y Charles Baudelaire con respecto a la mujer en general, contraponiéndose  la visión de pasión y pureza.

დღესდღეისობით რეკლამა  ჩვენს ცხოვრებაში დიდ როლს თამაშობს. სადაც არ უნდა იყმყოფებოდეს ადამიანი, იგი მუდმივად გარშემოცულია სარეკლამო შეტყობინებებით. წარმოების, ვაჭრობის, მასმედიის განვითარებამ უკვე XX საუკუნის შუა ხანაში დასავლურ სამყაროში მასობრივი სამომხმარებლო საზოგადოება ჩამოყალიბდა, რომლის ვითარებაშიც ჩნდება ხელოვნების ახალი მიმართულება - პოპ-არტი.

A Roma nel 1970 Achille Bonito Oliva e Graziella Lonardi inaugurano la stagione delle mostre organizzate dagli Incontri Internazionali d’Arte. È l’inizio di un percorso che li vedrà attraversare il decennio in una città che ripensa i suoi modelli culturali passando dalla sperimentazione alla crisi.

Andy Warhol’s peeling banana sticker and large signature on the cover of The Velvet Underground and Nico’s eponymous album is one of the most famous of fine artist/musician record cover collaborations. It wasn’t however Warhol’s first cover, that was Program of Mexican Music by Carlos Chávez back in 1949, created when he first moved to New York as a jobbing designer, according to Francesco Spampinato. His book tracing how and why fine art infiltrated the world of the long player has just been published by Taschen. Here we reprint an extract of his introduction and some key covers

In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical back grounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.

Postmedia Books 2021 _ isbn 9788874902934 _ _

Andy Warhol l'artista, Andy Warhol il filmaker, Andy Warhol il divo tra i divi. Dell'artista si è conosciuto ogni sfaccettatura della sua produzione: dai primi passi nel campo pubblicitario alla sua morte tutto è stato passato al setaccio della storia e della storia dell'arte. Forse meglio dire quasi tutto, perché di questo intenso percorso artistico esiste ancora qualche angolo oscuro, qualcosa alla quale la critica ha dato, per varie motivazioni, poca importanza, ponendola come esperienza marginale e non significativa nella messa a punto dell'estetica warholiana: l'Exploding Plastic Inevitable, uno spettacolo di luci, musica, colori e danza messo in scena, tra l'aprile del 1966 e il maggio del 1967, in varie città americane.

Donald Judd’s first solo show, held at the Green Gallery in 1963, marks the beginning of his Minimal art. Concurrently with that exhibition, Judd published “Kansas City Report” in Arts Magazine. The article reveals his interest in functional vernacular buildings, characterized by plain, geometric forms and familiar to him from his upbringing in the Midwest. Judd justified the artistic merit of such ordinary structures via modern European architectural theory, in which simple forms expressed ideals of Western progressivism. Guided by “Kansas City Report,” which has received little scholarly attention, I argue that in his Minimal art Judd allocated value to the ordinary, which he associated with notions of equality. Thus, his preference for the ordinary coincided with the nonelitist stance of Pop artists; due to the abstract nature of Judd’s work, however, the biographical and sociopolitical contexts of his Minimal forms have been neglected in favor of formal-aesthetic interpretations.

In Eduardo Costa's Fashion Fictions, a series begun in 1966, he has objects made that look like jewelry (including ears, toes, and strands of hair, all in 24k gold), but that are not actually meant to be worn. Instead, they function as props intended to trigger a reaction in the fashion media. It works: first in Argentina, where it was covered in the press in 1966 or 1967, and, later, in the United States, where Richard Avedon photographed the model Marisa Berenson wearing one of Costa’s creations for the March 1968 edition of Vogue and where the photographer Hiro’s images of the same object appeared on the cover of Harper’s Bazaar in October 1968. In 2019, Alessandro Michele's fall/winter collection for Gucci reactivated Costa's Fictions. This document includes a few of Costa's texts about the Fashion Fictions.

A più di trent'anni dalla scomparsa, il volume offre un approfondimento su Renato Guttuso (1911-1987), uno dei massimi protagonisti del dibattito artistico del secondo dopoguerra italiano. Attraverso una serie di interventi che mettono in luce aspetti inediti o poco analizzati della sua produzione, viene approfondita la personalità schiva e combattiva del pittore sotto un profilo insolito, più passionale, riconnettendo il suo percorso alle vicende personali e alle inquietudini del suo tempo, così da offrire al lettore nuove possibilità di lettura della sua opera.