Kaothar Oladoja and Rebekah Harris

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Presentation transcript:

Kaothar Oladoja and Rebekah Harris Pop Art Kaothar Oladoja and Rebekah Harris

Periodization 1950s in Britain Late 1950s in United States Rest of Europe and Asia later on Japan Italy Belgium Spain Netherlands Russian Federation

Historical Context Cold War Culture of Consumerism that emerged Propaganda Culture of Consumerism that emerged

Characteristics The subject matter became far from traditional "high art" themes of morality, mythology, and classic history Pop artists celebrated commonplace objects and people of everyday life, in this way seeking to elevate popular culture to the level of fine art Pop-art was to create a form of art with instant meaning. This was in sharp contrast to the super-intellectualism of Abstract Expressionism People and objects were presented in bright, often highly-contrasting colours Compositions were typically very simple and visually appealing to the general public

Goals To break the boundaries between “High” art and “Low” art. To support/ satirize the capitalistic culture Pop-art was "the" post-war expression of a world wholly preoccupied the pursuit of materialism.

Campbell Soup Cans by Andy Warhol

I was a rich man’s plaything by Eduardo Paolozzi

"The Expendable Ikon #1 by John Mchale

Flying Pins By Claes Oldenburg

“Just what is it that makes today's homes so different, so appealing” (Richard Hamilton)

Pop Art: Criticism or Endorsement Some critics have cited the Pop art choice of imagery as an enthusiastic endorsement of the capitalist market and the goods it circulated, while others have noted an element of cultural critique in the Pop artists' elevation of the everyday to high art