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Eduardo Paolozzi creates the collage I Was A Rich Man’s Plaything using cuttings from American magazines, which includes the word “Pop!” in its design. The work is considered a seminal piece of proto-Pop Art.

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Just What Is It That Makes Today's Homes So Different, So Appealing?

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Hamilton's image was used both in the catalogue for the exhibition, This is Tomorrow at London's Whitechapel Gallery in 1956, and on posters advertising it. The collage presents Adam and Eve surrounded by all the conveniences modern life provided, including a vacuum cleaner, canned ham, and a television. Using a variety of cutouts from magazine advertisements.

"Hamilton created a domestic interior scene that both lauded consumerism and critiqued the decadence that was emblematic of the American post-war economic boom years."

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Andy Warhol famously appropriated familiar images from consumer culture and mass media, among them celebrity and tabloid news photographs, comic strips, and, in this work, the widely consumed canned soup made by the Campbell’s Soup Company.  It resembles the mass produced, printed advertisements. Warhol mimicked the repetition and uniformity of advertising by carefully reproducing the same image across each individual canvas. He varied only the label on the front of each can, distinguishing them by their variety.

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The Bianchini Gallery in New York mounts The American Supermarket exhibition. Presented as a small supermarket environment, the exhibition is a collaboration of prominent pop artists, including Warhol, Lichtenstein and Oldenburg.

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Pop Art, for the most part, completed the Modernism movement in the early 1970s, with its optimistic investment in contemporary subject matter. It also ended the Modernism movement by holding up a mirror to contemporary society.

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Pop art would continue to influence artists in later decades, with artists like Warhol maintaining a larger-than-life presence within the New York art world into the 1980s. Pop fell out of favor during the 1970s as the art world shifted focus from art objects to installations, performances, and other less tangible art forms. However, with the revival of painting at the end of the 1970s and in the early 1980s, the art object came back into favor once again, and popular culture provided subject matter that was easy for viewers to identify and understand.

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One of the leading figures of the Neo-Pop movement was Jeff Koons, whose appropriation of pop culture icons such as Michael Jackson and mass-produced objects like Hoover vacuum cleaners further pushed the boundaries of high art. In Japan, the work of Takashi Murakami has been cited as a more recent example of Neo-Pop, due to his use of popular anime imagery in his Superflat style and his successful partnering with fashion labels like Louis Vuitton. Such artists continue to break down the barrier between high and low art forms, while reevaluating the role of art as a commodity in and of itself.

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Ketna Patel is probably best characterised by her use of contrasting primary colours and collage imagery. Another Pop Art purist, her collages are cut from manipulated colour graded photographs of street scenes around Singapore in recent years, and other countries around the world (often India) in past years. She creates silkscreens, prints, furniture and textiles, playing with placing her iconic collages on an array of materials. Religious themes and scripts of various languages make their way into her works - and by doing so, she manages to display an understanding of the place religion and culture have in popular narratives.

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Humbly is inseparable from the comic book inspired art he paints. Working primarily in oils, acrylics, and occasionally dabbling in sculpting, Humbly places himself in the narratives he builds in his artworks. Humbly, born and raised in the Philippines, offers a millennial take on Pop Art today, having grown up along with the mass availability of advertisements, comic book and cartoon franchises and consumer culture. His works offer viewers a reminder of the reality popular culture built around us, breaking that boundary between fiction and non-fiction.

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This young Singapore-based artist takes off from the Lichtensteinian and comic book aesthetic. Working exclusively using bubble wrap as her canvas, Aleeloulalei paints each bubble, building her paintings, literally, pixel by pixel. Her chosen bubble wrap canvas is a twofold commentary on Pop Art. While the exquisite detailing and finishing gives pop culture the attention it needs to become popular, the plasticity of the material captures the transience of this culture. Her works are themed on portraits of celebrities, artists, musicians and celebrated heroes, and they display a self-awareness of the trials and fortunes associated with such an inflated status.