Moreover, the emerging consumer culture among Americans provided the artists with the opportunity to incorporate the realities in their artistry. Notably, Pop Art was premised on imagery from popular culture, which resulted in a significant impact on modern life.
Additionally, Pop art effectively reflected the underlying social situation where Roy Lichtenstein and Andy Warhol infused comprehensible images that were non-discriminatory Sandler Furthermore, Minimalist art emerged as a counter-culture art, and it depicted a more commercial outlook compared to pop art Bieber Popular Minimalists such as Frank Stella, Donald Judd, and Dan Flavin focused on simple lines and created a departure from unnecessary details.
Understandably, Lichtenstein and Warhol, as Pop artists, focused on incorporating classical items in their artistic structure either for advertising or humor.
On the other hand, Minimalists involved lights, geometrical forms and colors in their works and departed from creating emotional content Bieber Moreover, Pop artists derived most of their artistic works from advertisements and comic, and just like Minimalists, they offset the emotional aspect depicted by most artists Sandler It should be noted that the two movements focused on the use of industrial materials in their artistry, and they developed a new art representation, which enabled the Pop artists and Minimalists to blur the boundary between the art and the conventional life Bieber Understandably, Lichtenstein and Warhol created a convergence of popular culture and consumer products in their artistic works.
More importantly, Lichtenstein effectively utilized cartoon imagery such as Micky Mouse in his works. Don't use plagiarised sources.
Chapter 4 - The Ancient Near East. Chapter 5 - Anicent Egypt. Chapter 6 - The Aegean. Chapter 7 - The Art of Ancient Greece. Chapter 9 - Ancient Rome. Click here to sign up. Download Free PDF. Pop Art vs Minimalism. Alexandra Ulyanich. A short summary of this paper. Pop Art vs. Minimalism What did 's look like?
The two decades that followed the Second World War were very intense and prosperous in every way in the States. It was a period of unprecedented economic, social and cultural growth. Despite all positive changes, a lot of bad things also happened. A political leader could be assassinated; violence and crime escalated; drug abuse rose. But nonetheless, even during those anxious times, the power of popular culture increased and it became a main force in both society and the arts. Approximately at that time such places as Disneyland and the Las Vegas Strip appeared, that at once became the dream destination and the most desirable places to spend time.
Plus, the film and music industries determined mass entertainment. The consumer culture, in general, with its billboards and ads, provided the artists with the absolutely new ways of representation of reality and the nature of its representation. So, the line between high art and the products of popular culture blurred. At that time, two so different, but at the same time, in some cases, so similar art movements appeared: Pop Art and Minimalism.
They were two major art movements of the early 's, which traces one can definitely see in the 21 st century too. Warhol loved Hollywood and all it stood for. The repetition of her portrait makes her seem paper thin and removes the idea of a person, but only a superficial image. The more you look at the same exact thing, the more the meaning goes away, and the better and emptier you feel. He focuses on the detachment from the images in the same way a reporter might express his detachment.
Everything I do is connected with death - Warhol, In , Warhol moves his factory to an old building on East 47th St. In , he turned to films. He did several long actionless films with a fixed camera position: Sleep, Empire, Eat… By , Warhol moved the factory to Union Square and the scene became more and more bizarre until its abrupt end in when a groupie shot Warhol. Warhol died and was revived. Andy Warhol, Mao and Self Portrait.
Playing up what things really were was very Pop, very sixties. Roy Lichtenstein, Blam , and Drowning Girl , His style of rendering objects resembles their presentation in simple linear sketches of inexpensive product catalogs and advertisements in newspapers.
He abandoned easily identifiable images in favor of anonymous comic strips, often soap opera romance or action themes. He was not painting things but signs of things. His true subject is not the embracing couple, the jets in a dog fight, but rather the terms of their translation into the language of media and the implications of that metamorphosis.
This turned everything into a form that could be reproduced. One image can be substituted for another. He paid attention to the formal qualities of the reproduction more-so than the subject matter.
One of the things a cartoon does is to express violent emotion and passion in a completely mechanical and removed style. The detachment becomes the subject. His background differs from Warhol in that he was a fine artist and not a commercial artist and drew from the history of art rather than commercial culture. Lichtenstein, Brush Strokes. The comic style creates a distance from the existential authenticity and immediacy of abstract expressionism.
He even expresses this distance in his paintings of the brush stroke in and that later were expanded into sculpture. He utilized this stylistic impersonalization to also re-imagine other artistic styles, flattening and emphasizing the commercialized nature of art in the process:. Rosenquist pulls from popular culture much like Rauschenberg, but stemming from a more commercial background of painting billboards in Times Square.
He states:. His works resemble the large billboards that he previously created, encapsulating the images of mass media and popular culture in this same sense of impact which he was fascinated by. The forms do not provide more detail, instead they are created with the flat commercial color of a reproduced image.
Robert Arneson, Toilet , He brought commercial culture into a fine art context and it was heralded as a major transformation in his work. He felt that this was an occasion to create a personal manifesto.
He states, "I really thought about the ultimate ceramics in western culture so I made a toilet Fineberg Arneson continues,.
The toilet was removed from the exhibition, which made Arneson realize his importance. This produced a presence of the artist… "I had finally arrived at a piece of work that stood firmly on its ground. It was vulgar. I was vulgar Fineberg Robert Arneson, Typewriter , Arneson later moves to creating objects in satirical ways which poke fun at the idea, but are typically in extremely bad taste. He shows that he has no boundaries to his message, and although objectionable, they become endearing through his style of approach.
Arneson continually looked to Pollock for stylistic approach because of what Pollock stood for in art. Pollock was a brutalized and isolated victim and a survivor, and where Pollock self-destructed, Arneson overcame the odds and pushed forward embracing the criticism. Robert Arneson Pollack , The west coast contained artists that produced a very different pop art aesthetic. Artists such as Ed Ruscha and Vija Clemins demonstrate a unique set of work incorporating appropriation and graphic design that proved to be truly unique.
This artform Shocked the viewers who were accustomed to the visual complexities of gesture painting. Frank Stella, Untitled , He singled out formal ideas from paintings of Johns one by one and followed them to a logical extreme in abstract terms. He eliminated the subject and the painterly touch and gave them greater scale. There is no detail and the canvas can be viewed all at once.
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