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'The Independent Group (IG), founded in London in 1952, is regarded as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well as traditional views of fine art.'

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Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late 1950s.[1][2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.[3] It is also associated with the artists’ use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.[2][3]

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Andy Warhol was a leading figure in pop art and created many iconic pieces such as the 'campbell soup' painting.

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'In 1957 pop artist Richard Hamilton listed the ‘characteristics of pop art’ in a letter to his friends the architects Peter and Alison Smithson:

Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business.'

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Emerging in the mid 1950s in Britain and late 1950s in America, pop art reached its peak in the 1960s. It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be. Young artists felt that what they were taught at art school and what they saw in museums did not have anything to do with their lives or the things they saw around them every day. Instead they turned to sources such as Hollywood movies, advertising, product packaging, pop music and comic books for their imagery.

In 1957 pop artist Richard Hamilton listed the 'characteristics of pop art' in a letter to his friends the architects Peter and Alison Smithson:

Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business

Modernist critics were horrified by the pop artists' use of such 'low' subject matter and by their apparently uncritical treatment of it. In fact pop both took art into new areas of subject matter and developed new ways of presenting it in art and can be seen as one of the first manifestations of postmodernism.

American pop vs. British pop

Although they were inspired by similar subject matter, British pop is often seen as distinctive from American pop.

Early pop art in Britain was fuelled by American popular culture viewed from a distance, while the American artists were inspired by what they saw and experienced living within that culture.

In the United States, pop style was a return to representational art (art that depicted the visual world in a recognisable way) and the use of hard edges and distinct forms after the painterly looseness of abstract expressionism. By using impersonal, mundane imagery, pop artists also wanted to move away from the emphasis on personal feelings and personal symbolism that characterised abstract expressionism.

In Britain, the movement was more academic in its approach. While employing irony and parody, it focused more on what American popular imagery represented, and its power in manipulating people's lifestyles. The 1950s art group The Independent Group (IG), is regarded as the precursor to the British Pop art movement.

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Tate glossary definition for pop art: Name given to art made in America and Britain from the mid 1950s and 1960s that drew inspiration from sources in popular and commercial culture

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'Emerging in the mid 1950s in Britain... pop art reached its peak in the 1960s. It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be.'

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Emerging in the mid 1950s in Britain and late 1950s in America, pop art reached its peak in the 1960s. It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be. Young artists felt that what they were taught at art school and what they saw in museums did not have anything to do with their lives or the things they saw around them every day. Instead they turned to sources such as Hollywood movies, advertising, product packaging, pop music and comic books for their imagery.

In 1957 pop artist Richard Hamilton listed the 'characteristics of pop art' in a letter to his friends the architects Peter and Alison Smithson:

Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten), Low cost, Mass produced, Young (aimed at youth), Witty, Sexy, Gimmicky, Glamorous, Big business

Modernist critics were horrified by the pop artists' use of such 'low' subject matter and by their apparently uncritical treatment of it. In fact pop both took art into new areas of subject matter and developed new ways of presenting it in art and can be seen as one of the first manifestations of postmodernism.

American pop vs. British pop

Although they were inspired by similar subject matter, British pop is often seen as distinctive from American pop.

Early pop art in Britain was fuelled by American popular culture viewed from a distance, while the American artists were inspired by what they saw and experienced living within that culture.

In the United States, pop style was a return to representational art (art that depicted the visual world in a recognisable way) and the use of hard edges and distinct forms after the painterly looseness of abstract expressionism. By using impersonal, mundane imagery, pop artists also wanted to move away from the emphasis on personal feelings and personal symbolism that characterised abstract expressionism.

In Britain, the movement was more academic in its approach. While employing irony and parody, it focused more on what American popular imagery represented, and its power in manipulating people's lifestyles. The 1950s art group The Independent Group (IG), is regarded as the precursor to the British Pop art movement.

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Tate glossary definition for pop art: Name given to art made in America and Britain from the mid 1950s and 1960s that drew inspiration from sources in popular and commercial culture

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Corita Kent visited a Warhol exhibition and began to take interest and involve herself in the pop art movement. she earned herself the title 'pop art nun'.

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During the 1960s, Catholic nun Corita Kent created silkscreen art rooted in the civil rights movement and other social justice struggles. Now, the city of Los Angeles has designated her one-time studio as a landmark.

As Sarah Cascone reports for Artnet News, the owner of the building, located on Franklin Avenue in Hollywood, intended to demolish it to make way for a parking lot. But after a campaign by Kent's admirers, the Los Angeles City Council voted unanimously to preserve it as a historic-cultural monument.

"Corita Kent's artwork was intentionally bold and challenging, to both the public and the Catholic church, awakening them in the 1960s to pressing issues of racial and social injustice," says Christina Morris, manager of the national Where Women Made History campaign, in a statement provided to Artnet. "It's a story that is deeply inspiring and incredibly relevant even today. Her studio is a place where outspoken women gathered to break barriers, challenge norms and to make history."

Kent joined the Roman Catholic order Sisters of the Immaculate Heart of Mary after graduating from high school in 1936. As Diane Winston, a religion scholar at the University of Southern California Annenberg, wrote for the Conversation in 2017, the order was exceptionally open to different perspectives, inviting Protestant, Jewish and Hindu speakers, along with progressive Catholics like Dorothy Day, to share their ideas with the community.

Together with other nuns from the order, Kent took part in feminist and civil rights demonstrations. At the same time, she experimented with silkscreen techniques and studied art and art history. (Perhaps most closely associated with Pop Art icon Andy Warhol, the stenciling method uses a fine mesh screen stretched tightly over a frame.) In 1962, Kent visited an exhibition of works by Warhol; soon after, she began creating the colorful poster prints that earned her the nickname the " Pop Art nun."

Per the Art Newspaper's Gabriella Angeleti, Kent used the Franklin Avenue location as her studio between 1960 and 1968, producing such pieces as (1965), a commentary on the Watts Riots, which took place following the police beating of Black Californian Marquette Frye.

Kent left the order in 1968, moving to Boston after clashing with a conservative cardinal who objected to the nuns' participation in politics and called her art " weird and sinister." (According to Daily Art magazine's Candy Bedworth, Catholic authorities were particularly bothered by a 1964 Christmas card in which Kent compared the Virgin Mary to a juicy tomato.)

In 1970, many of the Immaculate Heart sisters similarly renounced their vows, banding together to form a new ecumenical Christian group: the Immaculate Heart Community.

As Carolina A. Miranda wrote for the Los Angeles Timesin 2018, Kent produced a new series of prints, Heroes and Sheroes, soon after leaving the order. The brightly colored images combine photographs of figures like labor leader Cesar Chavez and civil rights activist Coretta Scott King with pages from news magazines and quotations from poets and writers, including Alan Watts and Walt Whitman.

Kent continued making art in Boston and remained active in social causes until her death in 1986.

The Corita Art Center, a project of the Immaculate Heart Community that is dedicated to preserving and promoting Kent's art, led the fight to save the former studio. As the center's director, Nellie Scott, points out in a statement, only 3 percent of Los Angeles' designated landmarks are linked to women's heritage.

"The Los Angeles City Council giving landmark status to Corita's studio is one critical step in redressing this disparity," Scott says. "This work to uphold the legacies of women artists and cultural leaders is ongoing in Los Angeles and across the U.S. Corita reminds us that hope is not just optimism; hope is hard work."

The center is now exploring how the building can be used to support artists in the community and honor Kent's legacy.

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Studio of 'Pop Art Nun' Corita Kent Saved From Becoming Parking Lot

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During the 1960s, Catholic nun Corita Kent created silkscreen art rooted in the civil rights movement and other social justice struggles. Now, the city of Los Angeles has designated her one-time studio as a landmark. As Sarah Cascone reports for Artnet News , the owner of the building, located on Franklin Avenue in Hollywood, intended to demolish it to make way for a parking lot.

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Roy Lichtenstein was the first pop artist to include onomatopoeia in his artwork.

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Patrick Caulfield started to create some of his most iconic pop art pieces and became well recognised within the movement .

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Photographer Whitney Justesen created a series of scanography images focused on the face and different props.

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Emily Bree Richards released a collection of scanography images, centring around many different motifs (e.g Jack the ripper, identity) and focusing on the use of light and exposure.

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Scannography- identity by Eminog on DeviantArt

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Denis Sheckler begun creating his incredible photography and collage work and started up his iconic instagram account: @pills_for_skills