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Pop culture and art essay
Pop culture and art essay
Art in its social context
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In the mid-20th century, there was a battle brewing in the art world. Commercialization began to mass-produce art in all varieties, from comic books to magazines, gift-wrapping, billboards, you name it! What a fantastic thing to be happening! Art was now widely available to the general public. However, with the creation of so many replicas’ what would define the value of art? Critic Clement Greenberg was the condemning voice of the fine art community, denouncing this movement for decades throughout the 1940’s and 50’s. His argument was that popular culture and mainstream art was simply an aesthetic photocopy, to take money from consumers and offer no further significance or meaning. He claimed it to be an empty, tasteless, western plague infecting the world with its flaunting decoration and cheap advertisements. The derogatory term, “kitsch” was made popular by Greenberg as he used it to describe commercialized art as tasteless unoriginal copies of high class works. In spite of Greenberg’s criticisms, the popular culture movement continued to flourish and low-culture art was becoming a reputable art form. This was largely due to the efforts of artist, Andy Warhol. Warhol removed the separation between high and low art, reshaped pop-culture and put it into the galleries. The Warhol effect is not referring to his signature posterized style, but to a rebellious attack on elite class, and assumption of mainstream culture to achieve prominence.
The pop-art movement took objects from our everyday life and using mass production techniques, created an exciting visual image that paid homage to the commercialized art of time. Andy Warhol’s “Campbell’s Soup Can” was a reflection of the typical poster and magazine art found everywhere in m...
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The twentieth century has witnessed many transformations in the ways we produce and respond to works of art. It has seen the rise of altogether new media, approaches, and a wealth of new interpretative frameworks. The emergence of manufactured goods, modernism, and a ubiquitous mass culture contribute to the upheaval, in the 1960’s and 70’s, of established art practices and approaches. Pop Art emerges as an important response to, extension of, or parody of what Clement Greenberg called “Ersatz culture” and “kitsch”, which, to paraphrase Greenberg, represent the omnipresent abominations of commercial and replicated art (Greenberg 9). This essay will observe and discuss the interaction of Canadian pop culture, art, and identity in Joyce Wieland’s “O Canada (Animation)”, and will underline how works of Pop Art serve to elevate kitsch into “a new state of aesthetic dignity” (Eco 228).
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
Products of the culture economy take on the appearance of artwork but are in fact dependant on industry and economy, meaning that they are subjected to the interests of money and power and producing a profit “The whole world is passed through the filter of the culture industry” . To Adorno the production of art and consumerism is driven and shaped by the logic of capitalist rationality, meaning consumer products are created on the basis of whatever will sell best.
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.
Known for being the father of Pop Art, and a giant in pop culture, Warhol dominated the art scene from the late fifties up until his untimely death in 1987. However Warhol’s influence spread further then the art world, he also was a major player in the LGBT, avant-garde and experimental cinema movements. Born in 1928 in Pittsburgh, Pennsylvania to Slovakian immigrant parents, Warhol came from humble beginnings. Becoming widely known for debuting the concept of ‘pop art’ in 1962. Warhol’s reach grew further when he started experimenting with film, becoming a major player in the LGBT, avant-garde and experimental cinema movements. Warhol’s artist studio, known famously as ‘The Factory’ became a hub for experimentation, and a go-to point for celebrities, musicians and trans folk. During this time, Warhol came out as an openly gay man, challenging the status quo of the day, a time when being homosexual was illegal. While also producing highly experiential films such as ‘Blow Job’ (1964) and ‘Sleep’ (1964) which were highly political and provocative, at the time. As art critic Dave Hickey asserts, “Art has political consequences, which is to say, it reorganized society and creates constituencies of people around it” (Hickey, 2007), Andy Warhol’s art and lived experience created a political constituency which can be best recognised in the function of the “Silver Factory” on
Warhol, Andy, and Pat Hackett. POPism: the Warhol '60s. San Diego: Harcourt Brace Jovanovich, 1990. Print.
It corresponded to the emulation, which emerged among the lower classes of the postindustrial era, to pretend to have a good taste of art like the upper class. After the Industrial Revolution, the underprivileged, who had previously produced things to fulfill their own daily needs, turned into the working class of the urbans, producing things whose value in daily usage they would never see . This shift from crafting to manufacturing, from formulating to fabricating, and from creative to repetitive triggered a new need among these people. Although they did not have the time or education to enjoy and appreciate fine arts when they were in the countryside, the lower classes felt a new inclination towards art in the factory towns where they had the opportunity to observe that taste in art provided social status. Their desire to own works of art was precluded by their incomes which were no match for the high prices of the art market. With the aid of the mass production technologies and the manufacturing-commercial culture that followed, it became possible to produce multiple copies of artistic works and reduce the prices. This situation not only expanded the scope of art market but also provided the lower class with what they desired –or at least what they thought they desired: affordable art
Andrew Warhola was born August Sixth, 1928, in Pittsburgh Pennsylvania. He was the youngest son of Julie and Andrej Warhola, both immigrants from Czechoslovakia. After a quiet childhood spent alternately alone and in art classes, Andrew went to college. He then got a job doing commercial art, largely advertisements for large companies. Over time his name was shortened and Andy Warhol changed the face of modern art. Through his silver lined Factory and the many people who frequented it a revolution was born. This paper will discuss some of these people and examine the impact they all made on modern art.
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
Pop art is an experimental art which surfaced in Great Britain in the early 1950’s. One of the major art movements of the twentieth century, it came into its own in the United States in the late 1950’s. This art form incorporated photographs in ways that had not been utilized before. It utilized mass-culture imagery and iconography, in contrast to the traditional tendencies of fine art. Pop art is considered to be one of the last modern art movements and served as a precursor to postmodern art. The art form is characterized by themes and techniques derived from mass culture, including advertising and comic books. Perhaps one of the most famous Pop artists, is Andy Warhol.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
American economy in 1950s grew by 37%. During this period of time, a heightened economy led Americans to continuously spend more on consumer goods. The formation of Pop Art effectively influenced the greatest consumer economy of the world. The further development of materialism is due to an art movement during this time. The changes in art, especially in the development of modern art, led to the expanding negative impact of materialism in America. Andy Warhol, the leading figure of Pop art culture, portrayed consumerism through his art. Pop art shown in advertisements and comic books helped to create a new definition of materialism. Materialism is now defined as: “a tendency to consider material possessions and physical comfort as more important than spiritual values” (“Materialism”). Andy Warhol and his artworks were catalysts for the materialistic culture that characterizes contemporary society and continues to influence the world today.
Pop art got its name from Lawrence Alloway, who was a British art critic in 1950’s. The name “Pop Art” reflected on the “familiar imagery of the contemporary urban environment” (kleiner, 981). This art form was popular for its bold and simple looks plus its bright and vibrant colors. An example of this type of art is the oil painting done by Andy Warhol, “Marilyn Diptych” (Warhol, Marilyn Diptych) in 1962. The Pop art movement became known in the mid-1950 and continued as main type of art form until the late 1960’s. The Pop art movement, was a movement where medium played a huge part in the society, with it reflecting on advertisements, comic strips and even celebrities, like Marilyn. This movement also has a large background and artist that are deeply connected.
...e fulfilled with manufactured goods created by capitalism. This thought can be an extension and progression of Benjamin, who argues that art subjects the working class to conformity because, as consumers, they enjoy simple capitalistic distractions. Though something that is never mentioned by Horkheimer and Adorno is a form of art being taken back from the dominant ideology as a form of protest against the upper class. Benjamin uses the example of Dadaism and a type of “anti-art” movement. He believes that art can cause a shock to the individual that would not be an ideological distraction. Benjamin argues that art does not need to follow an ideological format but certain people, like Dadaism, can create to promote thinking and not passivity. In contrast Horkheimer and Adorno argue that the culture industry creates to feed the masses the ideology of the upper class.