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" Pop Art : "
Eric Shanes
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BL
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| Record Number
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763767
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| Doc. No
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b583748
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| Main Entry
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Eric Shanes
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| Title & Author
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Pop Art : : Art of Century.\ Eric Shanes
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| Publication Statement
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New York : Parkstone International, 2012
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| Page. NO
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(200 pages)
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| ISBN
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1780427980
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: 9781780427980
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| Contents
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FOREWORD; POP /Mass-Culture Art; Forerunners of Pop/Mass-Culture Art; Early Pop/Mass-Culture Art in Britain; The Rise of Pop/Mass-Culture Art in America; The Triumph of Pop/Mass-Culture Art; Some Individual Artists and their Creative Development; Jasper Johns; Robert Rauschenberg; Claes Oldenburg; Roy Lichtenstein; Andy Warhol; James Rosenquist; Jim Dine; George Segal; Ed Kienholz; Some Further American Pop/Mass-Culture Artists; Meanwhile, back in Europe{u2026}; David Hockney; Allen Jones and Others; Photorealism and Mass-Culture; Duane Hanson, Sandy Skoglund and Ed Paschke. Keith Haring, Jeff Koons and Mark KostabiArman; Martial Raysse, Mimmo Rotella, Erró and Others; Haim Steinbach, Ashley Bickerton and Others; British Sculptors and Mass-Culture; A Necessary Change of Name; The Cultural Status of Pop/Mass-Culture Art?; The Plates; Richard Hamilton, Just what is it that makes today's homes so dif ferent, so appealing?; Sir Peter Blake, On the Balcony, 1955-57.; Sir Peter Blake, Tattooed Lady, 1958.; Robert Rauschenberg, Monogram, 1955-59.; Robert Indiana, The American Sweetheart, ; Jasper Johns, Two Beer Cans, 1960.; Arman, Home, Sweet Home, 1960. Jasper Johns, Map, 1961. James Rosenquist, President Elect, 1960-61.; Sir Peter Blake, Self-Portrait with Badges, 1961.; David Hockney, Tea Painting in an Illusionistic St yle, 1961.; Sir Peter Blake, Love Wall, 1961.; Roy Lichtenstein, Look Mickey, 1961.; Roy Lichtenstein, Mr Bellamy, 1961.; Andy Warhol, 32 Soup Cans, 1961-62.; Roy Lichtenstein, Masterpiece, 1962.; Mimmo Rotella, Marilyn, 1962.; Andy Warhol, Green Coca-Cola Bottles, 1962.; Jim Dine, Five Feet of Colorful Tools, 1962.; Ed Kienholz, The Illegal Operation, 1962.; James Rosenquist, Marilyn Monroe I, 1962. Allan D'Arcangelo, Full Moon, 1962. Michael Andrews, The Deer Park, 1962.; Robert Rauschenberg, Estate, 1963.; Roy Lichtenstein, Torpedo{u2026}Los!, 1963.; James Rosenquist, Painting for the American Negro, 1962-63.; Andy Warhol, Ethel Scull 36 Times, 1963.; Andy Warhol, Mona Lisa, 1963.; Claes Oldenburg, French Fries and Ketchup, 1963.; Claes Oldenburg, Sof t Fur Good Humors, 1963.; Tom Wesselmann, Still-Life #30, 1963.; Edward Ruscha, Standard Station, Amarillo, Texas, 1963.; Richard Smith, Stag gerly, 1963.; Martial Raysse, Souviens-toi de Tahiti, France en 1961, 1963. Robert Rauschenberg, Retroactive I, 1964. Roy Lichtenstein, We Rose Up Slowly, 1964.; Ed Kienholz, Back Seat Dodge '38, 1964.; George Segal, The Dry-Cleaning Store, 1964.; Andy Warhol, Brillo Boxes, 1964.; David Hockney, California Art Collector, 1964.; Martial Raysse, America America, 1964.; George Segal, The Diner, 1965.; Ed Kienholz, The Wait, 1964-65.; Sir Eduardo Paolozzi, Wittgenstein in New York, 1965.; Peter Phillips, Custom Painting #3, 1965.; Allen Jones, Female and Male Diptych, 1965.; Mel Ramos, Miss Firestone, signed, titled and dated 1965 on the stretcher.
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| Abstract
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This book offers a radically new perspective on the Pop Art creative dynamic that has been around since the 1950s. It does so by enhancing the term 'Pop Art', which has always been recognised as a misnomer, for it obscures far more than it clarifies. Instead, the book connects all the art in question to mass culture, which has always provided its core inspiration. Above all, the book suggests that this Mass-Culture Art created a new modernist tradition that is still flourishing. The book traces that tradition through the forty or more years since Pop/Mass-Culture Art first came into being in t.
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| Subject
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Art -- 20th century.
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| Subject
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Pop art.
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| Added Entry
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Eric Shanes
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