# data[].attributes.attachment_link.title
Pop to popism :: Exhibition kits :: Education-Archive :: Art Gallery NSW

# data[].attributes.attachment_link.description
For a better experience, switch to Mobile Version "

# data[].attributes.attachment_link.readable_text
Claes Oldenburg was the Pop Artist who gravitated towards sculpture more than any of his contemporaries. At the start of 1960's he was involved in various 'Happenings': spontaneous, improvised, artistic events where the experience of the participants was more important than an end product - a kind of consumer art encounter for a consumer culture.

Oldenburg found his inspiration in the imagery of consumer merchandise, "I am for Kool-art, 7-UP art, Pepsi-art, Sunshine art, 39 cents art, 15 cents art, Vatronol Art, Dro-bomb art, Vam art, Menthol art, L & M art, Ex-lax art, Venida art, Heaven Hill art, Pamryl art, San-o-med art, Rx art, 9.99 art, Now art, New art, How art, Fire sale art, Last Chance art, Only art, Diamond art, Tomorrow art, Franks art, Ducks art, Meat-o-rama art." In 1961 he opened 'the Store' where he sold plaster replicas of fast foodstuff and junk merchandise whose crudely painted surfaces were an obvious parody of Abstract Expressionism. He used the front shop of 'The Store' as a gallery while he replenished his stock from his studio in the back shop.

Oldenburg's work is full of humorous irony and contradiction: on one hand he makes hard objects like a bathroom sink out soft sagging vinyl, while on the other he makes soft objects like a cheeseburger out of hard painted plaster. He also subverts the relative size of objects by taking small items like a spoon and cherry and recreating them on an architectural scale. He said, "I like to take a subject and deprive it of its function completely." By undermining the form, scale and function of an object, Oldenburg contradicts its meaning and forces the spectator to reassess its presence. When you see his large scale public works in their environmental settings, they have a powerful surrealist quality like Gulliver at Brobdingnag.

# data[].attributes.attachment_link.description
Claes Oldenburg was the Pop Artist who gravitated towards sculpture more than any of his contemporaries. At the start of 1960's he was involved in various 'Happenings': spontaneous, improvised, artistic events where the experience of the participants was more important than an end product - a kind of consumer art encounter for a consumer culture.

# data[].attributes.attachment_link.readable_text
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.

# data[].attributes.attachment_link.description
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.

# data[].attributes.attachment_link.description
Read and learn for free about the following article: Pop Art

# data[].attributes.attachment_link.description
Read and learn for free about the following article: Warhol, Marilyn Diptych

# data[].attributes.attachment_link.readable_text
SPEAKER 1: The Fourth Floor of the Museum of Modern Art, in the room devoted to pop art. And we're looking at a really great painting. SPEAKER 2: It's actually a really large painting. SPEAKER 1: And it's not really a painting, entirely. It's called "Gold Marilyn" as in Marilyn Monroe. It's from 1962. And it's not only that it's big, but it feels expansive, because most of the canvas is covered with this kind of slightly metallic bronzish gold paint. SPEAKER 2: Marilyn's head sort of floating-- SPEAKER 1: In a rectangle in the center. SPEAKER 2: In the very center of it. SPEAKER 1: Too small. I mean, really sort of weirdly isolated within the plane of the gold. But look at Marilyn's head. First of all, this is interesting because it was from, if I remember correctly, the last photo session that she vetted and she sort of approved. And if you look at it, it's actually terribly printed. It's not painted at all. SPEAKER 2: No. It's a print, right? SPEAKER 1: Yeah, from a newspaper, right? From a photograph from a newspaper that's been blown up, printed in black, and then really garishly over-printed with bad registration with these horrible colors that came right out of Dick Tracy comic strips. This yellow on top of the black for the hair, right? SPEAKER 2: And the red for the lipstick, and the green eye shadow. SPEAKER 1: Oh, god. This turquoise. It's just awful, isn't it? And then, really, the most glamorously garish, the red of the lips over the black. Now, this was right after her suicide. So this is very powerful stuff. So this is almost in memorial. I think it's got religious overtones. I think this is a kind of icon. I think that the gold is functioning like the gold in a Byzantine painting, and she's replaced the Virgin Mary. She is, in our consumer culture, in our culture of glamour, of fame, which was incredibly important to Warhol, she is now-- SPEAKER 2: Well, that is our culture. That is who we are. SPEAKER 1: And that's Warhol's brilliance, that he's not thinking about the history of art so much as what is authentic to now. And in fact, let's go back to the printing issue. Warhol, I think, makes this really interesting assessment, which is that painting is no longer an entirely authentic process in 1962, when we live in a world that is a world of manufacture, of mass production. Then he steps back and he stops painting. He starts making prints, which are in multiple. He starts hiring people to make his prints for him, and he does this in a studio which calls the factory. This has got to have been upsetting, in fact, to people who were still looking for the craft of painting. SPEAKER 2: Painting. SPEAKER 1: And worse than that, what pop's main issue was, turning the still life, the landscape, traditional history painting, what was left of it, all of those, in a sense ancient traditions, on its head and looking to popular culture. I mean, painting no longer the Virgin Mary but a pop icon is an incredibly powerful, aggressive statement against Western culture. It was Lichtenstein who was asked in-- I think it was 1961 or '62-- what was pop art? And he said after abstract expressionism, we could take an oil-soaked rag, put it on the wall, and somebody would call it a work of art. We were looking for something that was still despicable. And he said the thing that was still really despicable was popular visual culture. SPEAKER 2: Right. SPEAKER 1: Was the stuff of our commercial world. SPEAKER 2: The low culture. To me this opens up a whole issue about identity and the way we assume identity. SPEAKER 1: This is not Marilyn. In fact, we don't have any access to who she actually is at all. SPEAKER 2: Exactly. SPEAKER 1: What we have here is her mask.

# data[].attributes.attachment_link.title
Warhol, Gold Marilyn Monroe (video) | Khan Academy

# data[].attributes.attachment_link.description
SPEAKER 1: The Fourth Floor of the Museum of Modern Art, in the room devoted to pop art. And we're looking at a really great painting. SPEAKER 2: It's actually a really large painting. SPEAKER 1: And it's not really a painting, entirely. It's called "Gold Marilyn" as in Marilyn Monroe.

# data[].attributes.attachment_link.title
Why is this art? Andy Warhol, Campbell's Soup Cans (video) | Khan Academy

# data[].attributes.attachment_link.description
Steven Zucker and Sal Khan discuss Andy Warhol's Campbell's Soup Cans

# data[].attributes.attachment_link.entities[].name
Processo Completo de Criação de Stencil Multi-Camada

# data[].attributes.attachment_link.entities[].name
Turtle Sealife Stencil Harder & Steenbeck Airbrush Anleitung

# data[].attributes.attachment_link.title
Photoshop Tutorial - How To Turn a Photo Into a Stencil

# data[].attributes.attachment_link.title
Photoshop Tutorial: How to create the Dotted Halftone Pattern Effect

# data[].attributes.attachment_link.title
Photoshop Tutorial: How to make a POP ART portrait from a Photo!

# data[].attributes.attachment_link.readable_text
Screen printing is the pinnacle of DIY culture. If you have a band, you can screen print your own shirts. If you have an art collective, you can screen print some tote bags. If you're promoting an indie show, you can screen print your own posters. Most artistic pieces look way cooler when they have that handmade vibe.

We're going to show you how to make your own design and screen it onto whatever you'd like. You'll need to block out a few hours, and you'll need to have a design or logo in mind to print.

This how-to is for a single-color process. We'll be using one color of ink, so think of a one-color design. When picking your first design, try for something simple without a lot of thin lines. Thicker lines show up better-too thin, and they'll be messy. Your design should be printed in solid black lines on white, and there shouldn't be any gray areas or errant markings. This will probably require bringing the design into some digital imaging software to darken your lines, remove any gray areas, and turn it into a one-color piece.

For our test, we used our own logo-the big G from the Gear section of the website and the Gadget Lab section of WIRED magazine. This will give you a good idea of line thickness and overall cleanliness of the design.

Once you have a logo, you're ready to begin. And you'll definitely want to wear gloves and an apron while you work.

Gather the Gear

Blank silkscreen pre-stretched 110 mesh frame

Transparency paper for laser jet printing

Photo emulsion

150 watt light bulb

Squeegee

Ink

Blank canvas bags/t-shirts/posters/mousepads

Rags

Gloves and apron

A table covered in newspaper

Sheet of black fabric or black paper

2 lamps

Optional: red or yellow light bulb

Optional: table clamps or weights

Burn the Screen

1. Coat the silkscreen with photo emulsion using your squeegee. The emulsion will come with a small container of sensitizer; follow the directions on the bottle to combine the ingredients. Then pour a little of the mixture on the screen. Spread it evenly with the squeegee to coat the whole screen in a thin, even layer of photo emulsion. Do this for both sides.

2. Put the screen in a pitch black room for a couple of hours, letting the emulsion dry completely (check the instructions on your emulsion too). Do not rest the silkscreen flat side on the ground.

3. Print your black ink image on a transparency with a laser jet printer and set it aside.

4. Set up your light rig. Lay the black sheet over the table and position your lamp with a 150-watt bulb to shine down directly on the table, about twelve inches from the table (double-check the directions on the emulsion). Turn all the lights off in the room except for a lamp with a red or yellow bulb.

5. Position the transparency on the screen to burn it. Take out the framed screen coated in dried emulsion and place it screen side up, wood down on the black fabric. Using clear tape, position and secure your image to the surface of the silk screen.

6. Turn on the 150-watt bulb and burn the screen. Again, check the directions on your emulsion, but a good general guideline is to leave the 150-watt bulb on for between 30 and 45 minutes. Then you can return to normal lighting.

7. Clean the screen. Using a sink with cool water, spray down the screen until all the emulsion flakes off where your transparency blocked light. It may take a while to wash it all off, so be sure to be patient and thorough. Try not to rub the screen with your fingers. You should be able to completely see through the areas where you want ink to appear. Dry it off.

Print the Swag

1. Lay your fabric or paper on a flat surface. If it's a two sided piece of fabric like a T-shirt, put a piece of cardboard inside so the ink you place on the front doesn't bleed through to the back. Place the silkscreen frame over the shirt, flat side down, on the part that you want printed. You may wish to clamp or weigh down the frame.

2. Apply a line of ink to one side of the screen, and using the squeegee in a forty-five degree angle, pull the ink down the image to cover it evenly. Exert pressure while you drag the squeegee with a smooth movement. Do this again left to right and up and down over the image.

3. Carefully lift the screen and set your newly printed item off to the side to dry. Give it 10 minutes. Once dry, you may wish to iron the image briefly to help ensure the ink sets before washing it; be sure to put a piece of fabric between the new ink and iron.

4. Repeat. You'll want to rinse the screen occasionally, especially before changing ink colors (so you don't mix colors unintentionally) and after you've been printing for a while (since ink buildup can clog the screen).

Now all you need is a merch table for all the swag you're gonna make. And you get to keep your Punk Rock ID Card for another whole year-congratulations!

# data[].attributes.attachment_link.title
How To Burn A Silkscreen And Print Your Own Shirts At Home

# data[].attributes.attachment_link.description
Screen printing is the pinnacle of DIY culture. If you have a band, you can screen print your own shirts. If you have an art collective, you can screen print some tote bags. If you're promoting an indie show, you can screen print your own posters.

# data[].attributes.headline
How to silkscreen print using photographic emulsion

# data[].attributes.subject
How to silkscreen print using photographic emulsion

# data[].attributes.attachment_link.description
Peopleprint Community Media in Rochdale do all sorts of creative things. Here's our 4 minute guide to silk screen printing. The video was edited by one of our volunteers, John - thanks John!