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Contemporary Art and Pop Culture

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Presentation on theme: "Contemporary Art and Pop Culture"— Presentation transcript:

1 Contemporary Art and Pop Culture

2 Popular Culture Themes:
The rise of the cult of celebrity The perception-transforming power of mass media Leveling of hierarchies (of taste, class, brands, art, etc.) The merge of art and business

3 Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956

4 “What’s great about this country is America started the tradition where the richest consumers buy essentially the same thing as the poorest. You can be watching TV and see Coca Cola and you can know that the president drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke too. A Coke is a Coke, and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All Cokes are the same, and all Cokes are good.” Warhol, Coca-Cola, 1962

5 Andy Warhol’s installation at the Ferus Gallery, Los Angeles, 1962

6 Warhol, 32 Cans of Campbell’s Soup, 1962
Irving Blum (owner of the Ferus Gallery) bought the whole series for $3000 in 1962, then sold them to MOMA in 1996 for around $15 million (5,000 times what he originally paid!!)

7 Warhol, 100 Campbell’s Soup Cans, 1962

8 Warhol, Detail of Campbel’s soup cans

9 Warhol, 100 Brillo Boxes, 1960

10 Warhol, Brillo Boxes, 1964 “Why is something that looks exactly like a Brillo Box a work of art, but a Brillo box is not?”

11 Warhol, Gold Marilyn, 1962

12 Warhol, Marilyn, 1962

13 Warhol, Marilyn Monroe’s Lips, 1962

14 Warhol, National Velvet, 1963

15 Warhol, Triple Elvis, 1962

16 Warhol, Mona Lisa, 1963

17 Warhol, Red Race Riot, 1963

18 Warhol, Saturday Disaster, 1964

19 What connects products, celebrities, and disasters (Warhol’s subjects)
What connects products, celebrities, and disasters (Warhol’s subjects)? Why do you think he focused on these subjects? What themes in common can you identify?

20 Warhol was often critiqued for his “vulgarity”—what do you think
Warhol was often critiqued for his “vulgarity”—what do you think?   Is Warhol’s art vulgar, or is it a mirror of a vulgar culture?

21 Andy Warhol, 200 One Dollar Bills, 1962 (sold for $43,762,500 in 2009)

22 What is the proper role for art in society. What should art do
What is the proper role for art in society? What should art do? What should art be concerned with? What should art look like?

23 Warhol’s cover for the Velvet Underground, 1967

24 Warhol’s design for the Rolling Stones album Sticky Fingers, with actual zipper, 1971

25 Roy Lichtenstein, Image Duplicator, 1963

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27 Lichtenstein, We Rose Up Slowly, 1964

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30 Roy Lichtenstein, Drowning Girl, 1963

31 Lichtenstein, I Know How You Must Feel, Brad, 1963

32 Lichtenstein, Femme Au Chapeau, 1962

33 Lichtenstein, Little Big Painting, 1965

34

35 The Neo-Dadaists (Johns, Rauschenberg, Oldenburg) and the Pop artists (Warhol, Lichtenstein) all bring back subject matter to art, after the Abstract Expressionist rejection of subjects. How would you characterize the differences between Neo Dada and Pop use of and portrayal of subject matter (what kinds of subjects does each group use, and how are the subjects presented or represented)?

36 Barbara Kruger, Untitled (We don’t need another hero), 1985
Postmodern works often use ambiguous language: who is “we”? Who is speaking? Questions traditional roles and values

37

38 Barbara Kruger, Untitled (You Rule By Pathetic Display), 1985

39 Jenny Holzer, Truism Series, 1982
Strategies of mass media and advertising Aphorisms/slogans/clichés: different meanings of each type? Often contradictory Who is speaking? Can they be trusted?

40 Jenny Holzer, Truism Series, 1982
Full list of Truisms

41 Ashley Bickerton, Tormented Self-Portrait, 1986-87
"What exactly constitutes our notion of individual identity? We wake up in the morning and select our individuality from a finite catalogue of readymade possibilities."

42 Jeff Koons, Art Magazine Ads (Artforum), 1988-89

43 Jeff Koons, Art Magazine Ads (Art in America), 1988-89

44 Jeff Koons, Made In Heaven, 1989

45 Koons, Jeff and Ilona (Made in Heaven) 1989

46

47 Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991

48 Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living, 1991

49 Damien Hirst with shark

50 Damien Hirst, For the Love of God, 2007
Platinum cast of a skull set with 8,601 diamonds, total carat weight of 1,106.81, and original teeth. Cost £14 million to produce, sales record is very sketchy, leading to questions about the nature and true amount of the sale, if there was one. Hirst claimed he sold it for £50 million cash, which is unsubstantiated.

51 David Byrne, “I don’t care about contemporary art anymore?”
I go into a gallery now and—rightly or wrongly—immediately think, “inoffensive tchotchkes for billionaires and the museums they fund.” It’s sad—I used to be able to convince myself that contemporary art was some kind of forum for ideas and feelings about the world we live in. But hang on! It is! Those ideas and feelings are now about money and sucking up to those that have it and will part with a little bit of it. That is the world we live in!

52 David Byrne, “I don’t care about contemporary art anymore?”
I can’t see the work or any ideas behind most of it anymore—if there even are any. The ideas might be there. The artists might be holding on to their integrity and be maintaining their distance from the dirty business of buying and selling… Could painting—the sine qua non of arty baubles—become irrelevant and uncool not because of some reductionist spiritual aesthetic (as with Malevich’s work), but because it as a medium eventually loses all depth and human relevance due to economically inspired alienation?

53 Zbigniew Libera, LEGO Concentration Camp, 1996
“Nowadays, wars are no longer conducted just with the use of weapons, but also through consumption and culture.”

54

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56 Tom Sachs, Hello Kitty Nativity, 1994 (Barney’s Christmas Window)

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58 Margaret Kilgallen, To Friend and Foe, 1999

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60 Barry McGee (Twist), Untitled, 2009 (at SFMOMA)

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63 Takashi Murakami, Tan Tan Bo Puking, AKA Gero Tan, 2002
“I think that those who were able to enjoy consumer culture and the world of consumerism were the countries that were victorious during the war…I mean the U.S. and the British. Societies that lost the war, like Japan, envied the consumerism of the winners but they still wanted at least to be able to borrow what they envied. “

64 Takashi Murakami and Louis Vuitton collaboration

65 Takashi Murakami—Versailles, 2010

66

67 Takashi Murakami Miss Ko2, 1997
Murakami, Interview at Versailles

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