5.1 pop art

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American Pop Art Art 109A: Art since 1945 Westchester Community College Fall 2012 Dr. Melissa Hall

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Transcript of 5.1 pop art

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American Pop Art

Art  109A:    Art  since  1945  

Westchester  Community  College  Fall  2012  Dr.  Melissa  Hall  

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Origins  Pop  art  originated  with  the  BriEsh  Independent  Group  

Richard  Hamilton,  Just  what  is  it  that  makes  today’s  homes  so  different,  so  appealing?  1956    Eduardo Paolozzi, I was a Rich Man’s Plaything, 1947 Tate Gallery

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Rela,ves  AffiniEes  with  French  Nouveau  Réalisme  

Arman,  Accumula;on,  1961  

Raymond  Hains,  ,  Pour  la  Paix  La  Démocra;e  le  Progrés  Social  1959  

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Precursors  Neo-­‐Dada  

Junk  Art  Assemblage  Happenings  

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Pop  

Robert Indiana’s Love sculpture on 6th Ave NYC

“Pop is everything art hasn’t been for the last two decades . . . It springs newborn out of a boredom with the finality and oversaturation of abstract expressionism . . . Stifled by this rarefied atmosphere, some young painters turn back to some less exalted things like Coca-Cola . . .The self-conscious brush stroke and the even more self conscious drip are not central to its generation. Impasto is visual indigestion.” Robert Indiana

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Cultural  Perspec,ves:  Pop  arEsts  were  responding  to  the  rapid  growth  of  consumer  adverEsing  

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Consumerism  

Vintage postcard for Garden State Plaza, New Jersey Image source: http://mallsofamerica.blogspot.com/2007_04_01_archive.html

“American economic success hinged on mass consumerism and a burgeoning military-industrial complex . . . . To make certain the nation was never again infected by economic depression, Americans were urged to go on a shopping spree: buying new cars, suburban homes, washing machines, refrigerators, and television sets. To ensure its global economic dominance, particularly against communism, the nation dramatically enlarged its defense industry, and US corporations and consumer products (Coca-Cola, Marlboros, TV) increasingly penetrated foreign markets.” Erika Doss, Twentieth Century American Art, Oxford History of Art, Oxford University Press, 2002, p. 125.

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Mass  Media  And  to  the  advent  of  mass  media  technologies  

While only 0.5% of U.S. households had a television set in 1946, 55.7% had one in 1954, and 90% by 1962

1950s television set Image source: http://en.wikipedia.org/wiki/File:Television_set_from_the_early_1950s.jpg

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Media  Mass  Media  Mass  media  transforms  free  ciEzens  into  “consumers”  

Typical American Family, 1950s Image source: http://www.noozhawk.com/green_hawk/article/050610_energy_toll_of_televisions_328500_watts_and_counting/

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Mass  Media  Robert  F.  Kennedy:    first  “television”  president  

Media  has  the  power  to  shape  global  poliEcs  

Televised debate between Richard M. Nixon and John F. Kennedy, 1960 Image source: http://jeremywaite.wordpress.com/2010/02/02/how-will-your-name-be-remembered/

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MediaStudies  Marshall  McLuhan,  “father”  of  Media  Studies  

Marshall Macluhan, Understanding Media: The Extensions of Man, 1964

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Avant  Garde  and  Kitsch  While  purified  abstracEon  disdained  popular  culture,  Pop  art  embraced  it  wholeheartedly  

“Clement Greenberg and most of the abstract expressionists had always maintained a rigidly elitist stance toward vernacular culture . . .” Tony Scherman http://www.americanheritage.com/articles/magazine/ah/2001/1/2001_1_68.shtml

Clement Greenberg looking at a painting by Ken Noland Image source: http://www.theslideprojector.com/art1/art1twoday/art1lecture9.html

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Avant  Garde  and  Kitsch  The  culture  of  “kitsch”  that  Clement  Greenberg  had  derided  in  1939  had  reached  a  new  level  of  pervasiveness  and  intensity  

“By 1960 Greenberg’s kitsch—television, advertising, magazines, movies, and other mass media—had lodged itself deeply in America’s consciousness. Media-generated imagery was too urgent, too omnipresent, for artists to ignore. “ Tony Scherman http://www.americanheritage.com/articles/magazine/ah/2001/1/2001_1_68.shtml

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A  New  Reality  

“The Pop artists . . . . were responding to the new American visual landscape, a vista of advertising, billboards, commercial products, automobiles, strip malls, fast food, television, and comic strips. They therefore took print, film, and television images from media-based reality and transformed them into art, often through various mechanical means. Their pictures were often images of images, copies of copies, a twice-removed effect that echoed the techniques of mass production, the media and marketing.” Lisa Phillips, The American Century: Art & Culture 1950-2000, Whitney Museum/W.W. Norton, 1999, p. 114.

First Macdonalds, San Bernardino, California Image source: http://en.wikipedia.org/wiki/File:First_McDonalds,_San_Bernardino,_California.jpg

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Tom  Wesselmann  Tom  Wesselman  captures  the  media-­‐saturated  reality  of  postwar  American  society  in  a  series  of  sEll  lives  from  the  1960’s  

Tom  Wesselmann,  S;ll  Life  #24,  1962,  Nelson  Atkins  Museum  Image  source:    h^p://www.greenmuseum.org/c/aen/Images/Ecology/24.php  

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S,ll  Life  SEll  Life:    an  arrangement  of  “things”  

Raphaelle Peale , Still Life with Cake, 1818 Metropolitan Museum

Daniel Spoerri, Kichka's Breakfast I, 1960 Museum of Modern Art

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Tom  Wesselmann,  S;ll  Life  #24,  1962,  Nelson  Atkins  Museum  Image  source:    h^p://www.greenmuseum.org/c/aen/Images/Ecology/24.php  

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Tom  Wesselmann  Wesselmann’s  sEll  lives  are  not  pictures  of  “things”  but  of    media  adverEsements  for  things  

Tom Wesselmann’s Still Life #35 (1963) at L&M Arts Image source: http://www.artnet.com/magazineus/reviews/robinson/robinson4-17-06_detail.asp?picnum=19

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Tom  Wesselmann,  S;ll  Life  #24,  1962,  Nelson  Atkins  Museum  Image  source:    h^p://www.greenmuseum.org/c/aen/Images/Ecology/24.php  

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Tom  Wesselmann,  S;ll  Life  #24,  1962,  Nelson  Atkins  Museum  Image  source:    h^p://www.greenmuseum.org/c/aen/Images/Ecology/24.php  

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Tom  Wesselmann,  Still  Life  #36,  1964  Whitney  Museum  

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Tom  Wesselmann  Similar  to  Jasper  Johns’  Flag  –  pictures  of  images  rather  than  things  

Jasper Johns, Flag, 1954-5, Museum of Modern Art  

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Mediated  Reality  Pop  art  took  the  “second  hand”  reality  of  media  culture  as  its  subject  ma^er  

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Mediated  Reality  Mediated  reality  refers  to  a  kind  of  pre-­‐processed  reality,  delivered  through  controlled  media  outlets  (radio;  TV,  adverEsing)  

Inventor Hugo Gernsback with his T.V. Glasses. Photo: Alfred Eisenstaedt/Time & Life Pictures/Getty Imagesene 01, 1963

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Mediated  Reality  Pictures  of  pictures,  rather  than  things  

Thomas de Zengotita, Mediated: The Hidden Effects of Media on People, Places, and Things (Bloomsbury, 2005)

Mediated Reality, by Barry Carlton Image source: http://photo.net/photodb/photo?photo_id=5215460&size=lg

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Tom Wesselmann, Still Life #28, 1963

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Tom Wesselmann, Still Life #30, 1963 Museum of Modern Art

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Tom Wesselmann, Great American Nude #57, 1964 Whitney Museum

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Titian , Venus of Urbino, 1538

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Willem De Kooning, Woman I, 1950-52 Museum of Modern Art

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Fe,shism  The  figures  are  typically  faceless,  with  selecEve  emphasis  on  feEshized  body  parts  (lips;  nipples)  

Tom Wesselmann, Great American Nude, 1964

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Fe,shism  The  flat  hard  edge  shapes  mimic  the  cool  impersonal  style  of  commercial  adverEsing  –  and  contemporary  hard  edge  abstracEon    

Tom Wesselmann, Great American Nude #59, 1965 Hirshhorn Museum

Ellsworth Kelly, Blue Green Red, 1962-3 Metropolitan Museum

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Walk-­‐In  Environments  Wesselmann  also  did  “walk-­‐in”  environments  

Tom Wesselmann, Bathtub 3, 1963 Museum Ludwig

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Tom Wesselmann, Great American Nude #48, 1963 Image source: http://www.life.com/image/80663562

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George  Segal  Figures  made  from  plaster  casts  of  real  people  and  placed  in  actual  environments    

George Segal, Bus, 1962 Hirshhorn Museum

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George Segal, Diner, 1964 Walker Art Center

Edward Hopper, Night Hawks, 1942

Mark Rothko called them walk-in Edward Hopper paintings

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Environments  Segal’s  sculptures  allow  the  viewer  to  enter  the  work  and  engage  with  it  as  an  experience  

George Segal, Three people on four benches, 1979

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George  Segal  Segal  is  oien  associated  with  the  Pop  Art  movement  because  his  sejngs  evoke  American  consumer  culture  

George Segal, Tar Roofer, 1964 With Robert Indiana’s Love paintings

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George Segal, Cinema, 1963 Albright Knox Gallery

“In Segal’s work . . . the readymade settings . . . are more vivid, even more ‘alive’ than the plastercast figures which surround them. Here, the world of things seems to participate in the evacuation of selfhood. It is those things, Segal suggests, rather than human agency, which constitute a public world.” David Joselit, American Art Since 1945, Thames & Hudson, 2003, p. 75

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Roy  Lichtenstein  Roy  Lichtenstein  began  as  an  abstract  painter  

Roy Lichtenstein, Untitled, 1959

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Roy  Lichtenstein  His  involvement  with  Allan  Kaprow,  Jim  Dine,  Claes  Oldenberg,  and  George  Segal,  inspired  him  to  explore  popular  imagery  

Roy Lichtenstein, Refrigerator, 1962

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Roy  Lichtenstein  This  painEng  was  based  on  an  adverEsement  for  a  vacaEon  resort  in  the  Poconos  

Roy Lichtenstein, Girl with a Ball, 1961 Museum of Modern Art

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Roy  Lichtenstein  He  didn’t  just  incorporate  the  image  into  a  collage  the  way  the  Independent  Group  did  

Richard  Hamilton,  Just  what  is  it  that  makes  today’s  homes  so  different,  so  appealing?  1956    

Eduardo Paolozzi, I was a Rich Man’s Plaything, 1947 Tate Gallery

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Roy  Lichtenstein  Instead,  he  faithfully  duplicated  the  image  

Roy Lichtenstein, Girl with a Ball, 1961 Museum of Modern Art

“The closer my work is to the original the more threatening and critical the content.” Roy Lichtenstein

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Roy  Lichtenstein  He  used  a  projector  to  copy  his  source  images  

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Roy  Lichtenstein  He  used  Ben-­‐Day  dots  to  create  haliones  

Roy Lichtenstein, Magnifying Glass, 1963

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Roy  Lichtenstein  His  mechanical,  impersonal  approach  was  the  complete  opposite  of  “acEon  painEng”  

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Roy  Lichtenstein  

Roy Lichtenstein, Girl with a Ball, 1961 Museum of Modern Art

“Lichtenstein  .  .  .  rebelled  into  impersonality  .  .  .    he  put  the  copy  into  a  projector  and  traced  the  magnified  image  onto  a  canvas  for  the  outline  of  his  painEng.  His  trademark  Ben  Day  dots  (the  Eny  dots  used  by  printers  and  cartoonists  for  shading)  made  his  canvases  look  printed,  not  painted.  “I  wanted  to  look  programmed,”  he  told  an  interviewer.  The  hand,  bearer  of  individuality,  was  feEshized  by  abstract  expressionism.  Pop  slapped  it  away.”  Tony  Sherman,  "When  Pop  Turned  the  Artworld  Upside  Down"  

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Roy  Lichtenstein  The  banality  of  his  subject  ma^er  was  equally  shocking  

Roy Lichtenstein, Standing Rib, 1962 Museum of Contemporary Art, Los Angeles

Roy Lichtenstein, Refrigerator, 1962

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Roy  Lichtenstein  It  seemed  to  be  the  anEthesis  of  the  heroic  content  of  Abstract  Expressionism  

Barnett Newman, Vir Heroicus Sublimus, 1950-51 Museum of Modern Art

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Lichtenstein’s  use  of  popular  imagery  and  impersonal  strategies  challenged  accepted  aestheEc  values  in  several  ways:  

•  Originality:    by  using  “readymade”  imagery,  Lichtenstein  challenged  expectaEons  about  “originality”  (the  Etle  of  Michael  Lobel’s  book  on  Lichtenstein  is  “Image  Duplicator”)  

•  Significant  Subject  MaMer:    while  the  Abstract  Expressionists  sought  “tragic  themes”  Lichtenstein’s  subject  ma^er  comes  from  the  vulgar  realm  of  popular  culture  

•  Individual  style:    instead  of  a  personal  style,  Lichtenstein  “paints  like  a  machine”:    he  literally  copied  his  images  using  a  projector,  and  he  used  the  commercial  technique  of  Ben-­‐day  dots  to  create  half-­‐tones  

The  deadpan,  impersonal  style  of  Pop  art,  along  with  its  unashamed  embrace  of  popular  culture  and  a  figuraEve  style,  was  in  every  way  a  rejecEon  of  the  cherished  principals  of  the  Abstract  Expressionist  generaEon  

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Roy  Lichtenstein  Lichtenstein  is  best  known  for  his  painEngs  of  comic  books  

Roy Lichtenstein, Look Mickey, 1961 National Gallery of Art

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Roy  Lichtenstein  Many  of  them  were  based  on  the  popular  DC  comic  book  series  

Roy Lichtenstein, Drowning Girl, 1963 Museum of Modern Art

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Roy  Lichtenstein  Lichtenstein  claimed  to  be  interested  in  the  form  rather  than  the  content  

Roy Lichtenstein, Hopeless, 1963 Kunstmuseum, Basel

“I paint my own pictures upside down or sideways. I often don't even remember what most of them are about. I obviously know in the beginning what I'm painting, and that it will be funny or ironic. But I try to suppress that while I'm doing them. The subjects aren't what hold my interest.” http://www.lichtensteinfoundation.org/kimmelman1.htm

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Roy  Lichtenstein  But  the  comics  he  used  epitomized  the  gender  stereotypes  of  the  era  

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Roy  Lichtenstein  In  1962  Lichtenstein  began  his  series  of  war  painEngs  based  on  the  DC  Comic  All  American  Men  of  War  

Roy Lichtenstein, Brattata, 1962

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Roy  Lichtenstein  The  theme  was  topical  in  1962  since  the  United  States  was  at  war  in  Vietnam  

Vietnam War fighter jets

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Roy  Lichtenstein  In  contrast  to  the  female  “damsels  in  distress,”  the  men  in  this  series  are  acEon  heroes  fighEng  wars  in  vaguely  specified  locaEons  

Roy Lichtenstein, Live Ammo, 1962

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Roy Lichtenstein, Live Ammo, (Blang!), 1962

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Roy Lichtenstein, Blam, 1962 Yale University Art Gallery

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Roy Lichtenstein, Whaam, 1963 Tate Gallery

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Detachment  The  “dramas”  Lichtenstein  presents  are  deeply  tragic  human  dramas:    love  and  war  

Roy Lichtenstein, Blam, 1962 Yale University Art Gallery

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Detachment  Yet  they  are  chillingly  devoid  of  emoEon  

Roy Lichtenstein, Drowning Girl, 1963 Museum of Modern Art

“Lichtenstein was not painting things but signs of things . . . . By turning everything into a form that can be reproduced in newspapers or on television, the media homogenize experience . . . Lichtenstein explored this situation in a cool style that he has consistently described in terms of its formal qualities, as if he had little interest in the subject matter . . . . Lichtenstein’s detachment from the explicit subject is the real subject of his work.” Jonathan Fineberg, Art Since 1945, p. 261

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Detachment  Like  Jasper  Johns  and  Robert  Rauschenberg,  Lichtenstein  was  appropriaEng  material  from  everyday  life  

Jasper Johns, Flag, 1954-5

Robert Rauschenberg, Retroactive, 1964

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Detachment  Like  them,  too,  he  was  painEng  images  rather  than  things  

Jasper Johns, Flag, 1954-5

Robert Rauschenberg, Retroactive, 1964

"You know, all my subjects are always two-dimensional or at least they come from two-dimensional sources. In other words, even if I'm painting a room, it's an image of a room that I got from a furniture ad in a phone book, which is a two-dimensional source. This has meaning for me in that when I came onto the scene, abstract artists like Frank Stella or Ellsworth Kelly were making paintings the point of which was that the painting itself became an object, a thing, like a sculpture, in its own right, not an illusion of something else. And what I've been trying to say all this time is similar: that even if my work looks like it depicts something, it's essentially a flat two-dimensional image, an object."http://www.lichtensteinfoundation.org/kimmelman1.htm

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Challenging  Aesthe,c  Values  Lichtenstein  quesEoned  the  disEncEon  between  abstracEon  and  commerical  illustraEon  -­‐-­‐  and  between  “high”  and  “low”  art  

Roy Lichtenstein, Golf Ball, 1962

Piet Mondrian, Composition No. 10 (Pier and Ocean), 1915

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Cartoonized  “Masterpieces”  Isn’t  a  Mondrian  just  like  a  flag  -­‐-­‐  an  object,  a  thing,  a  design?  

Roy Lichtenstein, Non-Objective II, 1964

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Cartoonized  “Masterpieces”  

Roy Lichtenstein, Girl with Beach Ball, 1977

DS: And what about the paintings which are adaptations of fine art images, your Picassos and your Mondrians?

R L: I kind of wish you'd explain them to me, because it really doesn't do the same thing. It takes something which is already art and apparently degrades it. It's like a five-and-dime-store Picasso or Mondrian. But at the same time it isn't supposed to be non-art. It's a way of saying that Picasso is really a cartoonist and Mondrian is too, maybe. I don't really know. I don't think I understand it, but I think that it's a way of making cliches that occur in Picasso more cliched - a way of re-establishing them but also making them not a cliche. I think that it does just that.http://www.lichtensteinfoundation.org/sylvester1.htm

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Cartoonized  “Masterpieces”  Lichtenstein  also  “cartoonized”  the  signature  brushstroke  of  Abstract  Expressionism  

Roy Lichtenstein, Yellow Brushstroke I, 1965

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Roy Lichtenstein, Little Big Painting, 1965 Whitney Museum of Art

“What Lichtenstein has given us is a set of images which look like the kind of painting that had been so recognizable to American audiences by the mid-1950s, called Action Painting or Abstract Expressionism. But it's an image of that work. It's a completely flat canvas . . . there's no trace of the artist's hand there at all . . . so we know this is a kind of work of art that makes reference to mechanical printing. And that was the last thing the Abstract Expressionists wanted. They resisted mass culture . . . At the same time that this looks like an image of an abstract painting, he's made a very successful kind of abstract painting, with these wonderful tones of white and red and yellow. So he's doing both at once. He's able to parody the work of the generation that preceded him. But he's also found a way in that process to make his own really powerful abstract composition.” Michael Lobel Whitney Museum of Art

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Challenging  Aesthe,c  Values  Is  there  really  any  difference  between  a  dot,  a  drip,  a  spla^er,  or  a  brushstroke?  

“DS: Because those brush-strokes are cliches, aren't they? They've become cliches of contemporary art. I suppose that Rauschenberg was the first person to comment on this when he made a very slashing dribbly abstract expressionist painting and then made a duplicate of it. That, I take it, was the first move in this direction.” http://www.lichtensteinfoundation.org/sylvester1.htm

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Andy  Warhol  Andy  Warhol  was  born  in  Pi^sburgh  and  studied  commercial  art  at  the  Carnegie  InsEtute  of  Technology  

Andy Warhol, Photo Booth Self-Portrait, c. 1963 Metropolitan Museum

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Andy  Warhol  Launched  a  successful  career  in  New  York  as  an  award  winning  illustrator  and  designer  

Andy Warhol, Shoe of the Evening, 1955 Museum of Modern Art

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Andy  Warhol  In  1960  he  began  painEng  pictures  based  on  banal  subjects  such  as  adverEsements  and  newspaper  tabloids  

Andy Warhol, Oil Heater, 1961 Museum of Modern Art

Andy Warhol, Dr. Scholls, 1960 Metropolitan Museum

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Andy  Warhol  He  also  began  exploring  cartoons,  but  gave  them  up  when  he  saw  Lichtenstein’s  work  

Andy Warhol, Dick Tracy, 1960

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Andy  Warhol  The  early  works  were  loosely  painted,  with  drippy  paint  that  made  them  look  like  “art”  

Andy Warhol, Before and After I, 1960 Metropolitan Museum

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Andy  Warhol  In  later  versions  he  explored  more  impersonal  methods  that  internalized  the  mechanical  style  of  commercial  imagery  

Andy Warhol, Before and After II, 1960

“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.” Andy Warhol

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Andy  Warhol  The  discovery  of  the  photo  silkscreen  process  allowed  Warhol  to  create  impersonal  painEng  using  a  mechanical  method  of  mass  produced  recycled  media  imagery    

“That’s probably one reason I’m using silk screens now. I think somebody should be able to do all my paintings for me ” Andy Warhol

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Jackson  Pollock:    “I  am  nature”   Andy  Warhol:    “I  want  to  paint  like  a  machine”  

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Jackson  Pollock:    “I  am  nature”  

“Pop is everything art hasn’t been for the last two decades . . . It springs newborn out of a boredom with the finality and oversaturation of abstract expressionism . . . Stifled by this rarefied atmosphere, some young painters turn back to some less exalted things like Coca-Cola . . .The self-conscious brush stroke and the even more self conscious drip are not central to its generation. Impasto is visual indigestion.” Robert Indiana

Robert Indiana, Love, 1967. Screenprint Museum of Modern Art

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Andy  Warhol  In  1963  Warhol  began  painEng  consumer  products  like  Campbell’s  Soup  and  Coca  Cola  

Andy Warhol, Campbell’s Soup Can, 1964 Silkscreen on canvas

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Andy  Warhol  Like  Jasper  Johns’  Flag,  the  images  were  representaEons  of  familiar  symbols  –  product  labels  for  Campbell’s  soup  and  Coca  Cola  

Jasper Johns, Flag, 1954-55

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Andy  Warhol  Each  canvas  is  20  X  16”  and  arranged  in  a  grid,  evoking  mass-­‐producEon  and  a  supermarket  display  

The  number  32  refers  to  the  number  of  varieEes  of  soup  flavors  

Andy Warhol, Campbell’s Soup, 1962 Museum of Modern Art

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Andy Warhol, Campbell’s Soup, 1962 Museum of Modern Art

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Andy Warhol, Campbell’s Soup, 1962 Museum of Modern Art

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“When you think about it, department stores are kind of like museums.” Andy Warhol

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Andy  Warhol  The  Campbell’s  Soup  painEngs  were  first  exhibited  in  1962  at  the  Ferus  Gallery  in  Los  Angeles  

A  nearby  gallery  filled  its  front  window  with  Campbell’s  cans  and  a  sign  that  said:  “Buy  them  cheaper  here.”  

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Andy  Warhol  The  arEst  then  began  creaEng  replicas  of  Brillo  boxes  and  other  products,  constructed  out  of  wood  

Andy Warhol, Brillo, 1964. National Gallery of Canada

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The  Readymade  

Andy Warhol, Brillo (Soap Pads), 1965 Rubell Family Collection, Miami

“By making the cartons non-functional and uprooting them from their ordinary context, Warhol forces us to look at them freshly. They comment on the way that commercial packaging transforms a mundane, household product into a glamorous, desirable commodity. Warhol also focuses our attention on the significance of these objects as representatives of the impersonal, commercialized consumer society in which we live.” National Gallery of Canada

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The  Readymade  

Andy Warhol, Brillo (Soap Pads), 1965 Rubell Family Collection, Miami

“People in a capitalist society . . . begin to treat commodities as if value inhered in the objects themselves, rather than in the amount of real labor expended to produce the object . . .”

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Celebri,es  In  addiEon  to  commonplace  “products,”  Warhol  also  did  portraits  of  celebriEes  

Andy Warhol's Liz Taylor on display in Londonhttp://www.dailymail.co.uk/news/article-2123864/3-jumble-sale-sketch-turns-Warhol-artwork-valued-1-3m.html#ixzz1zfXUuYlT

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Celebri,es  The  pictures  were  not  painEngs  of  “people,”  but  copies  of  their  mass-­‐produced  publicity  photos  

Andy Warhol, Liz, 1964 Metropolitan Museum

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Celebri,es  

“Liz is presented as a cultural commodity "packaged" for public consumption. Warhol creates icons that reflect society's worship of the evanescent gloss of material culture” http://www.ackland.org/art/exhibitions/eyeinthesky/warhol.html

Andy Warhol, Liz, 1964 Metropolitan Museum

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Celebri,es  The  Marilyn  series  was  also  based  on  publicity  photos,  not  “life”  

Andy Warhol, Turquoise Marilyn 1962

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Celebri,es  In  his  Gold  Marilyn,  he  treats  the  media  star  like  a  religious  icon  

Andy Warhol, Gold Marilyn, 1962 Museum of Modern Art

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Celebri,es  In  his  Marilyn  Diptych  he  mimics  the  mass-­‐producEon  process  by  which  the  girl,  Norma  Jean  Baker,  was  transformed  into  media  icon  

Andy Warhol, Marilyn Diptych, 1962 Tate Gallery

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Andy Warhol, Marilyn Diptych, 1962 Tate Gallery

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The  Warhol  Persona  Warhol  transformed  himself  into  a  depthless  media  icon:    an  “image,  with  no  content  

Robert Mapplethorpe, Andy Warhol, 1987

Warhol became a mirror, his conversation limited to "Oh, gee" and "Gosh" and—rarely honestly—"That's great.” http://nymag.com/arts/art/features/47184/index3.html

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The  Warhol  Persona  

Robert Mapplethorpe, Andy Warhol, 1986

“The interviewer should just tell me the words he wants me to say and I’ll repeat them after him. I think that would be so great because I’m so empty I just can’t think of anything to say.” Andy Warhol

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The  Warhol  Persona  

Robert Mapplethorpe, Andy Warhol, 1983 Tate Gallery

“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

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James  Rosenquist  James  Rosenquist  began  his  career  as  a  commercial  billboard  painter  

James Rosenquist with one of his paintings

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James  Rosenquist  He  used  these  skills  to  create  billboard-­‐sized  painEngs  that  drew  upon  the  imagery  and  impact  of  contemporary  adverEsing  

James Rosenquist, Hey! Let’s Go for a Ride!, 1961

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James  Rosenquist  Rosenquist’s  images  oien  juxtapose  unrelated  images,  mimicking  the  informaEon  overload  of  contemporary  society  

James Rosenquist, I Love You with My Ford 1961 Moderna Museet, Stockholm

“I’m amazed and excited and fascinated about the way things are thrust at us, the way this invisible screen that’s a couple of feet in front of our mind and our senses is attacked by radio and television and visual communications, through things larger than life, the impact of things thrown at us, at such a speed and with such a force that painting and the attitudes toward painting and communication through doing a painting now seem very old fashioned . . .” James Rosenquist

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James Rosenquist, I Love You with My Ford 1961

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James  Rosenquist  In  President  Elect  an  image  of  the  newly  elected  John  F.  Kennedy  is  combined  with  a  woman’s  hand  holding  a  piece  of  cake  and  a  fragment  of  a  car  

James Rosenquist, President Elect, 1964 Pompidou

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James Rosenquist, President Elect, 1964 Pompidou

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James  Rosenquist  The  first  “TV  President”  in  history,    Kennedy  was  an  icon  of  a  new  kind  of  media  celebrity  

James Rosenquist, President Elect, 1964

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James  Rosenquist  By  picturing  the  newly  elected  American  President  amongst  emblems  of  luxury  commodiEes,  Rosenquist  drew  a  direct  connecEon  between  “democracy”  and  “consumerism”  

James Rosenquist, President Elect, 1964

“The face was from Kennedy's campaign poster. I was very interested at that time in people who advertised themselves. What did they put on an advertisement of themselves? So that was his face. And his promise was half a Chevrolet and a piece of stale cake.” James Rosenquist

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James  Rosenquist  Rosenquist’s  most  famous  painEng  is  his  86  foot  long  F-­‐111  -­‐-­‐  a  response  to  the  arms  race  and  American  involvement  in  Vietnam  

James Rosenquist, F 111, 1964-65 Museum of Modern Art

“It is the newest, latest fighter-bomber at this time, 1965. This first of its type cost many million dollars. People are planning their lives through work on this bomber, in Texas or Long Island. A man has a contract from the company making the bomber, and he plans his third automobile and his fifth child because he is a technician and has work for the next couple of years. The original idea is expanded, another thing is invented; and the plane already seems obsolete. The prime force of this thing has been to keep people working, an economic tool; but behind it, this is a war machine.” James Rosenquist

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James Rosenquist, F 111, 1964-65 Museum of Modern Art

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James Rosenquist, F 111, 1964-65 Museum of Modern Art

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The Factory

Art  109A:    Art  since  1945  

Westchester  Community  College  Fall  2012  Dr.  Melissa  Hall  

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The  Warhol  Persona  In  1963  Warhol  established  a  studio  at  231  East  47th  Street  which  became  known  as  the  "Factory"    

Ugo Mulas, Andy Warhol at the Factory, East 47th St., New York. Image source: http://imageshack.us/photo/my-images/84/warholmulas.jpg/sr=1

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The  Warhol  Persona  

“It wasn't called the Factory for nothing. It was where the assembly-line for the silkscreens happened. While one person was making a silkscreen, somebody else would be filming a screen test. Every day something new.” John Cale

Gerard Malanga silk screening with Andy Warhol in the Factory, c. 1965. Image source: http://www.wornthrough.com/2012/01/

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The  Warhol  Persona  Warhol  treated  art  like  a  business,  and  the  Factory  operated  like  a  large  corporaEon  

“Business art is the step that comes after Art. I started as a commercial artist, and I want to finish as a business artist . . . Being good in business is the most fascinating kind of art. During the hippie era people put down the idea of business – they’d say ‘Money is bad,’ and ‘Working is bad,’ but making money is art and working is art and good business is the best art.” Andy Warhol

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Films  In  the  early  1960’s  Warhol  shiied  to  making  films  

Image source: https://www2.bc.edu/~doann/andyfilms.html

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Films  Influenced  by  John  Cage’s  aestheEc  of  “found  sound,”  the  films  did  not  have  a  plot  or  script  

Andy Warhol lines up a shot during the filming of Taylor Mead's Ass at his studio, The Factory, New York, 1964. Photograph: Fred W McDarrah/Time & Life Pictures/Getty Image

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Films  In  Kiss,  for  example,  the  enEre  film  consists  of  a  couple  making  out  

Andy Warhol, Kiss, 1964

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Films  Empire  is  a  staEonary  shot  of  the  Empire  State  building  that  lasts  for  eight  hours  and  five  minutes  

Andy Warhol, Film Still from Empire, 1964

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Andy Warhol, The Chelsea Grils, 1966 http://www.youtube.com/watch?v=KvOnRdMi4OM

“With Chelsea Girls, a 1966 movie about people who hung out in the Chelsea hotel, they made the Variety charts—and, according to Morrissey, a profit of $100,000. They also struck the deepest nerve to date” http://nymag.com/arts/art/features/47184/index3.html

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The  Velvet  Underground  Warhol  also  became  involved  in  the  music  industry,  and  sponsored  the  the  revoluEonary  pop  group  the  Velvet  Underground  

1967, Andy Warhol with Nico, Lou Reed, and The Velvet Underground

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The  Velvet  Underground  For  Warhol  and  his  circle,  the  emerging  pop  music  scene  was  the  new  avant  garde  

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The  Velvet  Underground  Rock  concerts  were  “Happenings,”  with  an  emphasis  on  experience  

Beatles Concert, 1966

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Celebrity  Warhol  himself  achieved  “rock  star”  celebrity  

Andy Warhol stands in front of a limited edition serigraph of Princess Grace of Monaco to benefit the Institute of Contemporary Art here in Philadelphia on June 1, 1984 http://www.upi.com/enl-win/e2ed527418b55cd6865c593144382a06/

“In the fall of 1965, when Andy and Edie went to his opening at the Institute of Contemporary Art in Philadelphia, nearly four thousand people crushed into the two small rooms and the staff had to take the paintings down for security. It was an art opening without art.” Jonathan Fineberg, p. 256

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Celebrity  

Beatles Concert, 1966

“I wondered what it was that made all those people scream,: Warhol later recalled. “I’d seen kids scream scream over Elvis and the Beatles and the Stones – rock idols and movie stars – but it was incredible to think of it happening at an art opening . . . But then, we weren’t just at the art exhibit – we were the exhibit, we were the art incarnate” Andy Warhol, cited in Fineberg, p. 256

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Celebrity  The  Factory  days  came  to  an  end  when  Warhol  was  the  vicEm  of  a  near  fatal  shooEng  

Richard Avedon, Andy Warhol, 1969, from The Sixties Image source: http://www.villagevoice.com/1999-12-07/art/fully-booked/

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Celebrity  The  shooter  was  Valerie  Solanos,  a  fringe  member  of  the  factory  crowd,  and  sole  member  of  a  radical  feminist  group  called  S.C.U.M.  (the  Society  for  Cujng  up  Men)  

Valerie Solanos Image source: http://hilobrow.com/2010/04/09/valerie-solanas/

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Celebrity  Warhol’s  wounds  were  nearly  fatal,  and  the  arEst  was  scarred  for  life  

Richard Avedon, Andy Warhol, 1969

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Cri,cal  Recep,on  But  Pop  art  was  hugely  successful,  and  it  changed  the  art  world  forever  

http://www.lichtensteinfoundation.org/newsweekapr1966.htm

“Until pop arrived, vanguard American art had fought its battles in private. “Up through the fifties and even in the early sixties,” Hilton Kramer says, “the New York galleries showing serious art you could count on the fingers of two hands. By the end of the sixties, the number of galleries had increased by four or five hundred percent. Pop art not only changed the tone of the art world, it changed its size.” ”Tony Scherman, “When Pop Turned the World Upside Down”

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Cri,cal  Recep,on  In  1964  Life  magazine  asked  if  Roy  Lichtenstein  was  the  worst  arEsts  in  the  U.S.  

Most  established  criEcs  thought  he  was  

http://www.lichtensteinfoundation.org/lifemagroy.htm

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“Abstract expressionism had drawn the artist’s gaze inward, to a purely subjective realm. What was hard for its artists and ideologues to accept about pop was its reversal of this gaze, its redirection of the artist’s awareness outward: to the teeming, exciting, vulgar new world of early-sixties America. Pop argued that the world was worth looking at—and it won the argument. Tony Sherman, “When Pop Turned the World Upside Down”

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The Death and Disaster Series

Art  109A:    Art  since  1945  

Westchester  Community  College  Fall  2012  Dr.  Melissa  Hall  

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The  End  of  Camelot  Pop  art  developed  during  a  transiEonal  Eme  in  American  history  

PoliEcal  AssassinaEons    John  F.  Kennedy  (1964)  Malcolm  X  (1965)  Robert  Kennedy  (1968)  

MarEn  Luther  King  (1968)  

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Race  Riots  1965:    Wa^s  Race  Riots  

1966:    Chicago,  New  York,  Cleveland,  BalEmore  

1967:    Detroit,  Newark,  Rochester,  New  York,  Birmingham,  New  Britain  

Race riots in the Watts section of Los Angeles, August 11-15, 1965 http://www.liu.edu/cwis/cwp/library/african/2000/1960.htm

Police subdue an injured rioter during race rights riots in Newark, N.J. (Three Lions/Getty Images) http://abcnews.go.com/US/popup?id=3371026

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An,-­‐War  Movement  

Pulitzer prize winning photograph of Kent State Massacre by Paul Filo, 1970

Vietnam War Protest in Washington, D.C. by Frank Wolfe, October 21, 1967 http://farm1.static.flickr.com/110/272804879_3142f28321.jpg

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Detachment  Detachment:  

A  mirror  of  society?  A  psychological  defense  mechanism?  

Roy Lichtenstein, Girl with a Ball, 1961 Museum of Modern Art

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Death  and  Disaster  Series  Andy  Warhol’s  Death  and  Disaster  series  engaged  directly  with  the  violence  of  the  era  

Andy Warhol, 129 Die in Jet (Plane Crash), 1962

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Andy Warhol, 129 Die in Jet (Plane Crash), 1962

When did you start with the “Death” series?

“I guess it was the big plane crash picture, the front page of a newspaper: 129 DIE. I was also painting the Marilyns. I realized that everything I was doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like, “4 million are going to die.” That started it. But when you see a gruesome picture over and over again, it doesn’t really have any effect.” http://artnews.com/issues/article.asp?art_id=2404

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Death  and  Disaster  Series  Car  crashes  

Race  riots  The  electric  chair  The  assassinaEon  of  JFK  

Andy Warhol Ambulance Disaster, 1963

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Death  and  Disaster  Series  News  photographs  photo-­‐silkscreened  onto  canvas,  with  li^le  alteraEon  

Andy Warhol Ambulance Disaster, 1963

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Death  and  Disaster  Series  Car  crashes  

Race  riots  The  electric  chair  The  assassinaEon  of  JFK  

“We went to see Dr. No at Forty-second Street. It’s a fantastic movie, so cool. We walked outside and somebody threw a cherry bomb right in front of us, in this big crowd. And there was blood, I saw blood on people and all over. I felt like I was bleeding all over. I saw in the paper last week that there are more people throwing them—it’s just part of the scene—and hurting people. My show in Paris is going to be called “Death in America.” I’ll show the electric-chair pictures and the dogs in Birmingham and car wrecks and some suicide pictures.” Andy Warhol http://artnews.com/issues/article.asp?art_id=2404

Andy Warhol, White Burning Car, 1963

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Andy Warhol, Birmingham Race Riot, 1963. Tate Gallery

Andy Warhol, Red Race Riot, 1963

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Andy Warhol, Electric Chair, 1964. Tate Gallery

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Andy Warhol, Orange Disaster: Electric Chair, 1963 http://www.tate.org.uk/servlet/ViewWork?workid=21767&searchid=15486

“You’d be surprised who’ll hang an electric chair in the living room. Especially if the background matches the drapes.” Andy Warhol

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Andy Warhol, 16 Jackies, 1964 Walker Art Center

“People sometimes say the way things happen in movies is unreal, but actually its the way things happen to you in life that’s unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, its like watching television -- you don’t feel anything.” Andy Warhol

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“During the 60s, I think, people forgot what emotions were supposed to be. And I don’t think they’ve ever remembered. I think that once you see emotions from a certain angle you can never think of them as real gain. That’s what more or less happened to me.” Andy Warhol

Andy Warhol, 16 Jackies, 1964 Walker Art Center