Artist Warhol was a Catholic, &

also a part of the first American generation to grow up with TV.

Before becoming an artist, he worked in advertising and design illustration.

He was fascinated by fame, fortune and celebrity.

He understood mass media and Consumerism and used them as both a subject and means of marketing his art.

Artwork

For Art promoters, Warhol was an artist with a highly public profile; He manipulated the media to create a cult figure status

For dealers, curators, critics and historian audiences he was a significant pioneer.

For art audiences he was a major figure in the artworld

He was considered one of the most influential artists of the second half of the 20th century.

For the public audience, he

was an idolised celebrity

figure, friends with the rich

& famous.

Pop art was a response to the elitism and ambiguity of Abstract Expressionism in the USA after WWII, 1950s and 1960s.

It was based on popular culture, mass media and consumerism

Pop art was a world of television, movies, comics, advertising and mass production.

It was a world of increasing celebrity worship where film stars and the rich and the famous were idolised.

This was also the world of the cultural revolution where race and gender equality were fought for,

“It's the movies that have been

running things in America ever

since they were invented. They show

you what to do, how to do it, when

to do it, how to feel about it, and

how to look how you feel about

it.” - Andy Warhol.

Audience

World

Warhol’s Gold Marilyn Monroe

reflects the ever present

celebrity imagery of Pop.

The central image on a gold

background is reminiscent of

religious icons, reflecting

society’s obsession with

celebrity worship.

The spiritual reference was

especially poignant given

Monroe’s suicide a few months

earlier.

Warhol’s sloppy silk-screening

symbolically places her

alongside other mass-marketed

commodities like a can of soup.

Andy Warhol. Handout P1

Assessment Task: weighting 20%;

With reference to the Artist’s quotes by Warhol & Koon, and using the outlined aspects of

the conceptual framework provided for each Artist, plus the Artwork examples, examine

how Artists represent ideas & opinions about the world of Popular Culture in their Art.

In your answer;

present a well-reasoned and informed point of view

apply your understandings of the different aspects of the Frames and Conceptual Framework as appropriate

Use 2 A4 pages HANDWRITTEN for your response.

Koons is an artist with a highly public profile; He utilizes the internet and digital media to cultivate a global celebrity status.

Curators, critics and historian audiences consider him a significant Artist, tough controversy often surround his work.

For art audiences he is a major figure in the artworld

For the public audience, he is associated

with celebrities and Pop Culture, friends

with the rich & famous.

Lady Gaga sculpture - Jeff Koons

2013 Plaster & painted Glass

The world of Jeff Koons is a place that is fuelled by the economy of a culture of

excess, that’s obsessed with image.

Advertising and self-promotion are the keys to achieving celebrity status.

Fame and fortune are to be embraced and the glittering spectacle that surrounds them is perpetually covered by a world saturated in digital media

The internet has made Pop Culture into a global commodity

“I believe in advertisement and media

completely. My art and my personal life

are based in it. The art world would

probably be a tremendous reservoir for

everybody involved in advertising.” -

Jeff Koons

Jeff Koons

World

Artist Jeff Koons was born into a working

class family, and grew up in a time of

exponential technological advancement

Before becoming an artist he worked in

advertising.

He moves in social circles f the rich and

famous

He understands the business of self-

promotion and knows how to generate

income from his art

Audience

Koons’ depiction of Gaga uses imagery

from classical Greek statues and Botticelli’s The Birth of Venus to represent Gaga’s goddess-like celebrity status

He uses his own “Gazing Ball” to represent engaging dialogue with others about transcendence

The minimalist makeup & nudity of Gaga

in this piece, contrast with her usually

hyper-styled image, bringing an inviting

vulnerability to the piece.

Artwork

Handout P2

Resources

Pop to Neo Pop

Archive.artgallery.nsw.gov.au,. (2015). Art Gallery of New South Wales - Archive - Pop, neo-pop, post-pop.

Retrieved 19 October 2015, from

http://archive.artgallery.nsw.gov.au/exhibitions/archived/2010/kaldor_projects/themes/pop_neo-

pop_post-pop/

Artgallery.nsw.gov.au,. (2015). Pop to popism :: Art Gallery NSW. Retrieved 19 October 2015, from

http://www.artgallery.nsw.gov.au/exhibitions/pop-to-popism/

Frost, A. (2014). Pop to Popism review – shock and social critique, with an Australian thread. the Guardian.

Retrieved 19 October 2015, from http://www.theguardian.com/artanddesign/australia-culture-

blog/2014/nov/03/pop-to-popism-review-shock-and-social-critique-with-an-australian-thread

Pop Art

Artyfactory.com,. (2015). Pop Art - the art of popular culture. Retrieved 19 October 2015, from

http://www.artyfactory.com/art_appreciation/art_movements/pop_art.htm

Guggenheim.org,. (2015). Collection Online | Browse By Movement | Pop art - Guggenheim Museum. Retrieved

19 October 2015, from http://www.guggenheim.org/new-york/collections/collection-

online/movements/195228

Museum Of Modern Art, NYC,. (2015). MoMA Learning. Retrieved 19 October 2015, from

https://www.moma.org/learn/moma_learning/themes/pop-art

Russell Tether Fine Art,. (2013). Jim Dine: Finding Humanity in Pop. Retrieved 19 October 2015, from

https://russelltetherfineart.wordpress.com/2013/10/04/jim-dine-finding-humanity-in-pop/

WALKER, J. (1991). POP ART: DIFFERENTIAL RESPONSES AND CHANGING PERCEPTIONS. Journal Of Art And Art

Education, no. 26, 9-16.

Neo-Pop Art

Arthistoryarchive.com,. (2015). Neo-Pop Art - The Art History Archive. Retrieved 19 October 2015, from

http://www.arthistoryarchive.com/arthistory/popart/Neo-Pop-Art.html

Bankowsky, J., Wall, J., Gingeras, A., Crow, T., Diedrichsen, D., & Griffin, T. et al. (2004). Pop after Pop: a

roundtable. Artforum International, 43(2), 166.

(Bankowsky et al., 2004)

Lowry, R. (2012). The Warhol Effect, A Timeline. Retrieved 12 October 2015, from

http://www.metmuseum.org/exhibitions/listings/2012/steins-

collect/~/media/Files/Exhibitions/WarholTimeline.pdf

Schjeldahl, P., & Yorker, T. (2014). Selling Points - The New Yorker. The New Yorker. Retrieved 19 October 2015,

from http://www.newyorker.com/magazine/2014/07/07/selling-points