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Explanation of how Pop Art started:

"Pop Art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States. ... Pop Art characterised a sense of optimism during the post-war consumer boom of the 1950s and 1960s. It coincided with the globalisation of pop music and youth culture, personified by Elvis and The Beatles." - Belgravia Gallery

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Pop Art - A brief history

Pop Art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States. Pop Art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising and news. In Pop Art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material. The concept of Pop Art refers not as much to the art itself as to the attitudes that led to it.

Pop Art characterised a sense of optimism during the post war consumer boom of the 1950's and 1960's. It coincided with the globalisation of pop music and youth culture, personified by Elvis and The Beatles. Pop Art was brash, young and fun and hostile to the artistic establishment. It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in mass-media, mass-production and mass-culture. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them. And due to its utilisation of found objects and images it is similar to Dada. Pop Art aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use of irony. It is also associated with the artists' use of mechanical means of reproduction or rendering techniques.

Advertising, product labelling and logos figure prominently in the imagery chosen by pop artists, like in the Campbells Soup cans, by Andy Warhol. Even the labelling on the shipping box containing retail items has been used as subject matter in Pop Art, for example in Warhol's Campbell's Tomato Juice Box 1964, or his Brillo Soap Box sculptures.

Andy Warhol is one of the best-known artists associated with Pop Art. His images of Mick Jagger, Marilyn Monroe and Campbell's Soup cans to name but a few have become household images, reprinted onto t-shirts, posters, mugs and recognised by people across the globe.

It is perhaps surprising that a Pop Art movement came out of London before it convincingly burst onto the art scene in America. After all, it is the American artist Andy Warhol who has become synonymous with the movement known as Pop Art. It was however, Richard Hamilton and Eduardo Paolozzi, as some of the founding members of the Independent Group (an artistic and literary collective that met regularly at the ICA in London between 1952 and 1955) that were the forerunners to British Pop Art and the transatlantic Pop Art movement. Richard Hamilton is often cited as the founder of British Pop Art. Others consider the conversations between Hamilton and Paolozzi to have kick-started the transatlantic art movement now known as Pop Art.

Yet others insist 'American Pop Art' evolved of its own accord and differently from its UK counterpart. It is argued it was both a development of and a reaction against Abstract Expressionist painting, which was the first American art movement to achieve global acclaim. However, by the mid-1950's, many felt it had become too introspective and elitist.

American Pop Art evolved as an attempt to reverse the elitist and abstract trend by reintroducing the image as a structural device in painting, to pull art back from the obscurity of abstraction into the real world again. This was a model that had been tried and tested before. Picasso had done something similar forty years previously when he collaged 'real world' printed images onto his still life works when he was considering if his work was becoming too abstract.

Around 1955, two remarkable artists emerged who would lay the foundations of a bridge between Abstract Expressionism and Pop Art. They were Jasper Johns and Robert Rauschenberg, the forerunners of American Pop Art.

It is also evident that the American Abstract Impressionist movement had its influence on the British Pop Art movement too. Sir Peter Blake produced works based on the Union Jack ( Union Flag 3 (Black) - below left), clearly influenced by Jasper John's Stars & Stripes Flag (above left), and Hamilton's collage work ( Collage of the White Album, 1968 - below right)) is reminiscent of Rauschenberg's in the 1960s (see Retroactive II, 1963).

No matter where the movement started or from which side of the Atlantic - it is clear from collectors and museums and the immense public interest that Pop Art is truly, well popular, and here to stay.

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Pop Art - A brief history - Belgravia Gallery

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Pop Art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States. Pop Art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising and news. In Pop...

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When searching who the founder of Pop Art is, I came across many names. Pop Art was a revolution, and so it was a few people at once who started to create pop art as a collective. These names are:

Richard Hamilton
Roy Lichtenstein
Eduardo Paolozzi
Andy Warhol
Jasper Jones

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Please click here if you are not redirected within a few seconds.

Roy Lichtenstein, (born October 27, 1923, New York, New York, U.S.-died September 29, 1997, New York City), American painter who was a founder and foremost practitioner of Pop art, a movement that countered the techniques and concepts of Abstract Expressionism with images and techniques taken from popular culture.

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Please click here if you are not redirected within a few seconds. Roy Lichtenstein, (born October 27, 1923, New York, New York, U.S.-died September 29, 1997, New York City), American painter who was a founder and foremost practitioner of Pop art, a movement that countered the techniques and concepts of Abstract Expressionism with images and techniques taken from popular culture.

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Pop Art originated from Britain (mid 1950s), then came to America (late 1950s).

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The most known Pop Artist: Roy Lichtenstein 

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The most known Pop Artist: Roy Lichtenstein 

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When I first studied Pop Art for art GCSE, the first artist I was introduced to was Roy Lichtenstein. His style was and is extremely recognisable. He uses halftone, thick black lines and speech bubbles. Also, he mostly uses women as references in his art (and most of the women are displayed crying)

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Roy Fox Lichtenstein (; October 27, 1923 - September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City.

Whaam! and Drowning Girl and Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece, which was sold for $165 million in January 2017.

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Artist page for Roy Lichtenstein (1923-1997)

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Recognizable imagery, drawn from popular media and products.

Usually very bright colors.

Flat imagery influenced by comic books and newspaper photographs.

Images of celebrities or fictional characters in comic books, advertisements, and fan magazines.

In sculpture, innovative use of media.

(From link attached)

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Summary of Pop Art

Pop Art's refreshing reintroduction of identifiable imagery, drawn from media and popular culture, was a major shift for the direction of modernism. With roots in Neo-Dada and other movements that questioned the very definition of "art" itself, Pop was birthed in the United Kingdom in the 1950s amidst a postwar socio-political climate where artists turned toward celebrating commonplace objects and elevating the everyday to the level of fine art. American artists Andy Warhol, Roy Lichtenstein, James Rosenquist and others would soon follow suit to become the most famous champions of the movement in their own rejection of traditional historic artistic subject matter in lieu of contemporary society's ever-present infiltration of mass manufactured products and images that dominated the visual realm. Perhaps owing to the incorporation of commercial images, Pop Art has become one of the most recognizable styles of modern art.

Key Ideas & Accomplishments

By creating paintings or sculptures of mass culture objects and media stars, the Pop Art movement aimed to blur the boundaries between "high" art and "low" culture. The concept that there is no hierarchy of culture and that art may borrow from any source has been one of the most influential characteristics of Pop Art.

It could be argued that the Abstract Expressionists searched for trauma in the soul, while Pop artists searched for traces of the same trauma in the mediated world of advertising, cartoons, and popular imagery at large. But it is perhaps more precise to say that Pop artists were the first to recognize that there is no unmediated access to anything, be it the soul, the natural world, or the built environment. Pop artists believed everything is inter-connected, and therefore sought to make those connections literal in their artwork.

Although Pop Art encompasses a wide variety of work with very different attitudes and postures, much of it is somewhat emotionally removed. In contrast to the "hot" expression of the gestural abstraction that preceded it, Pop Art is generally "coolly" ambivalent. Whether this suggests an acceptance of the popular world or a shocked withdrawal, has been the subject of much debate.

Pop artists seemingly embraced the post-World War II manufacturing and media boom. Some critics have cited the Pop Art choice of imagery as an enthusiastic endorsement of the capitalist market and the goods it circulated, while others have noted an element of cultural critique in the Pop artists' elevation of the everyday to high art: tying the commodity status of the goods represented to the status of the art object itself, emphasizing art's place as, at base, a commodity.

Some of the most famous Pop artists began their careers in commercial art: Andy Warhol was a highly successful magazine illustrator and graphic designer; Ed Ruscha was also a graphic designer, and James Rosenquist started his career as a billboard painter. Their background in the commercial art world trained them in the visual vocabulary of mass culture as well as the techniques to seamlessly merge the realms of high art and popular culture.

Overview of Pop Art

From early innovators in London to later deconstruction of American imagery by the likes of Warhol, Lichtenstein, Rosenquist - the Pop Art movement became one of the most thought-after of artistic directions.

Artworks and Artists of Pop Art

I Was a Rich Man's Plaything

Artist: Eduardo Paolozzi

Paolozzi, a Scottish sculptor and artist, was a key member of the British post-war avant-garde. His collage I Was a Rich Man's Plaything proved an important foundational work for the Pop Art movement, combining pop culture documents like a pulp fiction novel cover, a Coca-Cola advertisement, and a military recruitment advertisement. The work exemplifies the slightly darker tone of British Pop Art, which reflected more upon the gap between the glamour and affluence present in American popular culture and the economic and political hardship of British reality. As a member of the loosely associated Independent Group, Paolozzi emphasized the impact of technology and mass culture on high art. His use of collage demonstrates the influence of Surrealist and Dadaist photomontage, which Paolozzi implemented to recreate the barrage of mass media images experienced in everyday life.

Collage - Collection of the Tate, United Kingdom

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

Artist: Richard Hamilton

Hamilton's collage was a seminal piece for the evolution of Pop Art and is often cited as the very first work of the movement. Created for the exhibition This is Tomorrow at London's Whitechapel Gallery in 1956, Hamilton's image was used both in the catalogue for the exhibition and on posters advertising it. The collage presents viewers with an updated Adam and Eve (a body-builder and a burlesque dancer) surrounded by all the conveniences modern life provided, including a vacuum cleaner, canned ham, and a television. Constructed 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.

Collage - Kunsthalle Tubingen, Germany

President Elect

Artist: James Rosenquist

Like many Pop artists, Rosenquist was fascinated by the popularization of political and cultural figures in mass media. In his painting President Elect, the artist depicts John F. Kennedy's face amidst an amalgamation of consumer items, including a yellow Chevrolet and a piece of cake. Rosenquist created a collage with the three elements cut from their original mass media context, and then photo-realistically recreated them on a monumental scale. As Rosenquist explains, "The face was from Kennedy's campaign poster. I was very interested at that time in people who advertised themselves. Why did they put up an advertisement of themselves? So that was his face. And his promise was half a Chevrolet and a piece of stale cake." The large-scale work exemplifies Rosenquist's technique of combining discrete images through techniques of blending, interlocking, and juxtaposition, as well as his skill at including political and social commentary using popular imagery.

Oil on masonite - Centre Georges Pompidou, Paris

Pastry Case, I

Artist: Claes Oldenburg

Oldenburg is known as one of the few American Pop Art sculptors, notorious for his playfully absurd creations of food and inanimate objects. The collection of works in Pastry Case, I were originally displayed in the artist's famous 1961 installation titled The Store, located on New York's Lower East Side. For the project, Oldenburg created plaster sculptural objects including a strawberry shortcake and a candied apple. In addition to replicating consumer items, Oldenburg organized his installation like a typical variety shop and sold his items at low prices, commenting on the interrelation between art objects and commodities. Although sold as if they were mass-produced, the sculptures in The Store were carefully hand-built and the lavish, expressive brushstrokes that cover the items in Pastry Case, I seem to mock the seriousness of Abstract Expressionism, a common theme in Pop Art. Oldenburg combines the evocative expressionist gesture with the commodity item in a highly ironic environment.

Painted plaster sculptures on ceramic plates, metal platter and cups in glass-and-metal case - The Museum of Modern Art, New York

Drowning Girl

Artist: Roy Lichtenstein

In the early 1960s, Lichtenstein gained renown as a leading Pop artist for paintings sourced from the popular comics. Although artists such as Robert Rauschenberg and Jasper Johns had previously integrated popular imagery into their works, no one hitherto had focused on cartoon imagery as exclusively as Lichtenstein. His work, along with that of Andy Warhol, heralded the beginning of the Pop Art movement, and, essentially, the end of Abstract Expressionism as the dominant style.

Lichtenstein did not simply copy comic pages directly, he employed a complex technique that involved cropping images to create entirely new, dramatic compositions, as in Drowning Girl, whose source image included the woman's boyfriend standing on a boat above her. Lichtenstein also condensed the text of the comic book panels, locating language as another, crucial visual element; re-appropriating this emblematic aspect of commercial art for his paintings further challenged existing views about definitions of "high" art.

As with the rest of Pop Art, it is often unclear whether Lichtenstein is applauding the comic book image, and the general cultural sphere to which it belongs, or critiquing it, leaving interpretation up to the viewer. But in Drowning Girl, the ridicule of the woman's situation (as is made clear by her ridiculous statement) is evident.

Oil on canvas - Oil and synthetic polymer paint on canvas, © Estate of Roy Lichtenstein

Campbell's Soup I

Artist: Andy Warhol

Warhol's iconic series of Campbell's Soup Cans paintings were never meant to be celebrated for their form or compositional style, like that of the abstractionists. What made these works significant was Warhol's co-opting of universally recognizable imagery, such as a Campbell's soup can, Mickey Mouse, or the face of Marilyn Monroe, and depicting it as a mass-produced item, but within a fine art context. In that sense, Warhol wasn't just emphasizing popular imagery, but rather providing commentary on how people have come to perceive these things in modern times: as commodities to be bought and sold, identifiable as such with one glance. This early series was hand-painted, but Warhol switched to screenprinting shortly afterwards, favoring the mechanical technique for his mass culture imagery. 100 canvases of Campbell's soup cans made up his first solo exhibition at the Ferus Gallery in Los Angeles, and put Warhol on the art world map almost immediately, forever changing the face and content of modern art.

Screenprint - Fair Use

Bunnies

Artist: Sigmar Polke

After Polke co-founded Capitalist Realism in 1963 in Düsseldorf, Germany, with Gerhard Richter and Konrad Leug, he began to create paintings of popular culture, evoking both genuine nostalgia for the images and mild cynicism about the state of the German economy. He began simulating the dot patterns of commercial four-color printing (Raster dots) around the same time as Lichtenstein started replicating Ben-Day dots on his canvases. In Bunnies, Polke uses an image from the Playboy Club depicting four of their "bunnies" in costume. By recreating the Raster dot printing technique in this painting, Polke disrupts the mass-marketing of sexual appeal, because the closer the viewer gets to the work, the less they see. Bunnies and the rest of Polke's Raster dot paintings, do not invite a deep, personal identification with the image but rather the images become allegories for the self as it lost amidst the flood of commecial imagery. The dissonance between the inviting sexuality of the appropriated image of the Playboy bunnies and the distancing effect of the Raster dots echoes the interplay of feelings and emotions felt by the artist, both yearning for the mass-culture advertised life and repelled by it at the same time. Polke's vision of popular culture is far more critical than any of the New York artists, and is rooted in the skeptical attitude held by the Capitalist Realists. Rather than the "cool" detachment of New York, Polke cleverly critiques popular culture and how it affects the individual using the same mass-market image-making techniques.

Oil on cavas - Hirshorn Museum and Sculpture Garden, Washington, D.C., USA

Standard Station

Artist: Ed Ruscha

The printmaker, painter, and photographer Ed Ruscha was an important proponent of West Coast Pop Art that blended the imagery of Hollywood with colorful renderings of commercial culture and the landscape of the southwest. The gasoline station is one of Ruscha's most iconic motifs, appearing repeatedly in his book Twentysix Gasoline Stations (1963), a documentation of deadpan photographs from a road trip through the American Southwestern countryside. In Standard Station, the artist transforms the banal image of the gasoline station into an emblematic symbol of American consumer culture. Here, through the medium of screenprinting, Ruscha flattens the perspective into a single plane to create an image that evokes the aesthetic of commercial advertising. The work also demonstrates Ruscha's early experiments with language and textual interplay, which would be a principal concern in much of his later, more conceptually oriented work.

Screenprint - The Museum of Modern Art, New York

A Bigger Splash

Artist: David Hockney

This large canvas, measuring approximately 94 by 94 inches, was derived from a photograph of a swimming pool Hockney had seen in a pool manual. Hockney was intrigued by the idea that a painting might recapture a fleeting event frozen in a photograph: "I loved the idea of painting this thing that lasts for two seconds: it takes me two weeks to paint this event that lasts for two seconds." The dynamism of the splash contrasts strongly with the static and rigid geometry of the house, the pool edge, the palm trees and the striking yellow diving board, all carefully arranged in a grid containing the splash. This gives the painting a disjointed effect that is absolutely intentional, one of the hallmarks of Hockney's style. The effect of stylization and artificiality draws on the aesthetic vocabulary of Pop Art.

Acrylic on canvas - Collection of the Tate, United Kingdom

Beginnings of Pop Art

Great Britain: The Independent Group

In 1952, a gathering of artists in London calling themselves the Independent Group began meeting regularly to discuss topics such as mass culture's place in fine art, the found object, and science and technology. Members included Eduardo Paolozzi, Richard Hamilton, architects Alison and Peter Smithson, and critics Lawrence Alloway and Reyner Banham. Britain in the early 1950s was still emerging from the austerity of the post-war years, and its citizens were ambivalent about American popular culture. While the group was suspicious of its commercial character, they were enthusiastic about the rich world pop culture seemed to promise for the future. The imagery they discussed at length included that found in Western movies, science fiction, comic books, billboards, automobile design, and rock and roll music.

The actual term "Pop Art" has several possible origins: the first use of the term in writing has been attributed to both Lawrence Alloway and Alison and Peter Smithson, and alternately to Richard Hamilton, who defined Pop in a letter, while the first artwork to incorporate the word "Pop" was produced by Paolozzi. His collage I Was a Rich Man's Plaything (1947) contained cut-up images of a pinup girl, Coca-Cola logo, cherry pie, World War II bomber, and a man's hand holding a pistol, out of which burst the world "POP!" in a puffy white cloud.

New York City: The Emergence of Neo-Dada

By the mid 1950s, the artists working in New York City faced a critical juncture in modern art: follow the Abstract Expressionists or rebel against the strict formalism advocated by many schools of modernism. By this time, Jasper Johns was already troubling conventions with abstract paintings that included references to: "things the mind already knows" - targets, flags, handprints, letters, and numbers. Meanwhile, Robert Rauschenberg's "combines" incorporated found objects and images, with more traditional materials like oil paint. Similarly, Allan Kaprow's "Happenings" and the Fluxus movements chose to incorporate aspects from the surrounding world into their art. These artists, along with others, later became grouped in the movement known as Neo-Dada. The now classic New York Pop Art of Roy Lichtenstein, Claes Oldenburg, James Rosenquist, and Andy Warhol emerged in the 1960 in the footsteps of the Neo-Dadaists.

Pop Art: Concepts, Styles, and Trends

Once the transition from the found-object constructions of the Neo-Dada artists to the Pop movement was complete, there was widespread interest on the part of artists in the incorporation of popular culture into their work. Although artists in the Independent Group in London initiated the use of "pop" in reference to art, American artists soon followed suit and incorporated popular culture into their artwork as well. Although the individual styles vary widely, all of the artists maintain a commonality in their choice of popular culture imagery as their fundamental subject. Shortly after American Pop Art arrived on the art world scene, mainland European variants developed in the Capitalist Realist movement in Germany and the Nouveau Réalisme movement in France.

Richard Hamilton, Eduardo Paolozzi, and the Tabular Image

The Pop Art collages of Paolozzi and Hamilton convey the mixed feelings Europeans maintained toward American popular culture; both exalting the mass-produced objects and images while also criticizing the excess. In his collage, Just what is it that makes today's homes so different, so appealing? (1956), Hamilton combined images from various mass media sources, carefully selecting each image and composing the disparate elements of popular imagery into one coherent survey of post-war consumer culture. The members of the Independent Group were the first artists to present mass media imagery, acknowledging the challenges to traditional art categories occurring in America and Britain after 1945.

Roy Lichtenstein and Pulp Culture

Lichtenstein proved that he could fulfill demands for a "great" composition even though his subject matter derived from comic books. In addition to using the imagery from these mass-produced picture books, Lichtenstein appropriated the techniques used to create the images in comic books to create his paintings. He not only adopted the same bright colors and clear outlines as popular art, his most innovative contribution was his use of Ben-Day dots: small dots used to render color in mass-manufactured comics. Focusing on a single panel within a comic strip, Lichtenstein's canvases are not an exact facsimile, but are rather the artist's creative re-imaging of the composition in which elements may have been added or eliminated, scale could shift, and text might be edited. By hand-painting the usually machine-generated dots, and recreating comic book scenes, Lichtenstein blurred the distinction between mass reproduction and high art.

James Rosenquist and the Monumental Image

Rosenquist also directly appropriated images from popular culture for his paintings. However, rather than produce rote copies, Rosenquist exerted creative control through his surrealistic juxtapositions of products and celebrities, often inserting political messages. As part of his method, Rosenquist collaged magazine clippings from advertisements and photo spreads, and then used the results as studies for his final painting. Rosenquist's training in billboard painting transitioned perfectly into his realistic renderings of those collages expanded onto a monumental scale. With works often much larger and wider than 20 feet, Rosenquist imbued the mundane with the same status previously reserved for high, sometimes royal, art subjects.

Andy Warhol and Repetition

Andy Warhol is most famous for his vividly colored portraits of celebrities, but his subject matter has varied widely throughout his career. The common theme amidst the different subjects is their inspiration in mass consumer culture. His earliest works depict objects like Coca-Cola bottles and Campbell's soup cans, reproduced ad infinitum, as if the gallery wall were a shelf in a supermarket. Warhol transitioned from hand painting to screenprinting to further facilitate the large-scale replication of pop images. Warhol's insistence on mechanical reproduction rejected notions of artistic authenticity and genius. Instead, he acknowledged the commodification of art, proving that paintings were no different from cans of Campbell's soup; both have material worth and could be bought and sold like consumer goods. He further equated the mass-produced status of consumer goods with that of celebrities in portraits like Marilyn Diptych (1962).

Claes Oldenburg and Pop Sculpture

Renowned for his monumental public sculptures of everyday objects and his "soft" sculptures, Claes Oldenburg began his career on a much smaller scale. In 1961 he rented a storefront in New York City for a month where he installed and sold his wire and plaster sculptures of mundane objects, ranging from pastries to men's and women's undergarments, in an installation he dubbed The Store. Oldenburg charged a nominal fee for each piece, which underscored his commentary on the role of art as a commodity. He began his soft sculptures shortly after The Store, constructing large, everyday objects, like a slice of cake, an ice cream cone, or a mixer, out of fabric and stuffing so the end result collapses in on itself like a deflating balloon. Oldenburg would continue to focus on commonplace objects throughout his career, moving from soft sculptures to grand public art, like the 45-foot-high Clothespin (1974) in downtown Philadelphia. Regardless of the scale, Oldenburg's work always maintains a playful attitude toward re-creating mundane things in an unconventional way in order to upend viewer's expectations.

Los Angeles Pop

As opposed to New York City, the art world of Los Angeles was much less rigid, lacking the established galleries, critics, and hierarchies of the east coast; this openness is reflected in the styles of the artists who lived and worked there. The first museum survey of Pop Art, New Painting of Common Objects, was held at the Pasadena Art Museum in 1962, and showcased Warhol and Lichtenstein as well as many artists living in Los Angeles including Ed Ruscha, Joe Goode, Phillip Hefferton, Wayne Thiebaud, and Robert Dowd. Other Los Angeles artists, like Billy Al Bengston, incorporated a different kind of aesthetic into their version of Pop, utilizing new materials such as automobile paint and referencing surfing and motorcycles in works that make the familiar strange through new and unexpected combinations of images and media. By shifting the focus away from specific consumer goods, these artists allowed Pop Art to move beyond replication to incorporate experience and evoke a particular feeling, attitude, or idea, while also pushing the boundaries between high art and popular culture.

Ed Ruscha and Signage

On the roster at Ferus Gallery, Ed Ruscha was one of the pivotal artists of Los Angeles Pop who worked in a variety of media, with the majority of these typically printed or painted. Emphasizing the omnipresence of signage in Los Angeles, Ruscha used words and phrases as subjects in his earliest Pop Art paintings. His first reference to popular culture was the painting Large Trademark with Eight Spotlights (1962), where he appropriated the 20 th Century Fox logo in a simplified composition with the hard edges and clear palette of a cartoon, echoing the similar billboards. His subsequent paintings of words further blurred the lines between advertising signage, painting, and abstraction, undermining the divisions between the aesthetic world and the commercial realm, some even incorporating three-dimensional objects like pencils and comic books on the canvases. Ruscha's work presages the Conceptual art of the later 1960s, driven by the idea behind the artwork rather than the specific image. Ruscha's exploration of a variety of commonplace images and themes went beyond merely reproducing them, but to examining the interchangeability of image, text, place, and experience.

Capitalist Realism in Germany

In Germany, the counterpart to the American Pop Art movement was Capitalist Realism, a movement that focused on subjects taken from commodity culture and utilized an aesthetic based in the mass media. The group was founded by Sigmar Polke in 1963 and included artists Gerhard Richter and Konrad Lueg as its central members. The Capitalist Realists sought to expose the consumerism and superficiality of contemporary capitalist society by using the imagery and aesthetic of popular art and advertising within their work. Polke explored the creative possibilities of mechanical reproduction and Lueg examined pop culture imagery, while Richter dissected the photographic medium.

Nouveau Réalisme in France

In France, aspects of Pop Art were present in Nouveau Réalisme, a movement launched by the critic Pierre Restany in 1960, with the drafting of the "Constitutive Declaration of New Realism," that proclaimed, "Nouveau Réalisme - new ways of perceiving the real." The declaration was signed in Yves Klein's workshop by nine artists who were united in their direct appropriation of mass culture, or in Restany's words, "poetic recycling of urban, industrial, and advertising reality." This principle is evident in the work of Villeglé, whose technique of " décollage" involved cutting through layers of posters to create a new image. While the movement echoed the American Pop artists' concerns with commercial culture, many of the Nouveau Réalistes were more concerned with objects than with painting, as is the case with Spoerri, whose "snare-pictures" used food, cutlery, and tabletops as artistic media. Other key proponents of the movement included Yves Klein, Jean Tinguely, Arman, François Dufrêne, Raymond Hains, Niki de Saint Phalle, and Christo and Jean-Claude.

Later Developments - After Pop Art

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. 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.

Useful Resources on Pop Art

Individual Artist Overviews:

Similar Art

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Pop artists celebrated everyday images and elevated popular culture to the level of fine art. Top works by Warhol, Lichtenstein, Johns, Dine, Ruscha++

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Andy Warhol was an American artist, film director, and producer who was a leading figure in the visual art movement known as pop art.

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Andy Warhol was one of the most prolific and popular artists of his time, using both avant-garde and highly commercial sensibilities.

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Pop Artist, Keith Haring, whose work was popularised in the 1980's.

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Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney.

Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out. While in Pittsburgh, Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center.

Later that same year, Haring moved to New York City and enrolled in the School of Visual Arts (SVA). In New York, Haring found a thriving alternative art community that was developing outside the gallery and museum system, in the downtown streets, the subways and spaces in clubs and former dance halls. Here he became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat, as well as the musicians, performance artists and graffiti writers that comprised the burgeoning art community. Haring was swept up in the energy and spirit of this scene and began to organize and participate in exhibitions and performances at Club 57 and other alternative venues.

In addition to being impressed by the innovation and energy of his contemporaries, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri's manifesto The Art Spirit, which asserted the fundamental independence of the artist. With these influences Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. Also drawn to the public and participatory nature of Christo's work, in particular Running Fence, and by Andy Warhol's unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.

As a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing. In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. He began to create drawings in white chalk upon these blank paper panels throughout the subway system. Between 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty "subway drawings" in one day. This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. The subway became, as Haring said, a "laboratory" for working out his ideas and experimenting with his simple lines.

Between 1980 and 1989, Haring achieved international recognition and participated in numerous group and solo exhibitions. His first solo exhibition in New York.was held at the Westbeth Painters Space in 1981. In 1982, he made his Soho gallery debut with an immensely popular and highly acclaimed one-man exhibition at the Tony Shafrazi Gallery. During this period, he also participated in renowned international survey exhibitions such as Documenta 7 in Kassel; the São Paulo Biennial; and the Whitney Biennial. Haring completed numerous public projects in the first half of the 80's as well, ranging from an animation for the Spectacolor billboard in Times Square, designing sets and backdrops for theaters and clubs, developing watch designs for Swatch and an advertising campaign for Absolut vodka; and creating murals worldwide.

In April 1986, Haring opened the Pop Shop, a retail store in Soho selling T-shirts, toys, posters, buttons and magnets bearing his images. Haring considered the shop to be an extension of his work and painted the entire interior of the store in an abstract black on white mural, creating a striking and unique retail environment. The shop was intended to allow people greater access to his work, which was now readily available on products at a low cost. The shop received criticism from many in the art world, however Haring remained committed to his desire to make his artwork available to as wide an audience as possible, and received strong support for his project from friends, fans and mentors including Andy Warhol.

Throughout his career, Haring devoted much of his time to public works, which often carried social messages. He produced more than 50 public artworks between 1982 and 1989, in dozens of cities around the world, many of which were created for charities, hospitals, children's day care centers and orphanages. The now famous Crack is Wack mural of 1986 has become a landmark along New York's FDR Drive. Other projects include; a mural created for the 100th anniversary of the Statue of Liberty in 1986, on which Haring worked with 900 children; a mural on the exterior of Necker Children's Hospital in Paris, France in 1987; and a mural painted on the western side of the Berlin Wall three years before its fall. Haring also held drawing workshops for children in schools and museums in New York, Amsterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs and other public service campaigns.

Haring was diagnosed with AIDS in 1988. In 1989, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children's programs, and to expand the audience for Haring's work through exhibitions, publications and the licensing of his images. Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS.

During a brief but intense career that spanned the 1980s, Haring's work was featured in over 100 solo and group exhibitions. In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. He was highly sought after to participate in collaborative projects ,and worked with artists and performers as diverse as Madonna, Grace Jones, Bill T. Jones, William Burroughs, Timothy Leary, Jenny Holzer, Yoko Ono and Andy Warhol. By expressing universal concepts of birth, death, love, sex and war, using a primacy of line and directness of message, Haring was able to attract a wide audience and assure the accessibility and staying power of his imagery, which has become a universally recognized visual language of the 20th century.

Keith Haring died of AIDS related complications at the age of 31 on February 16, 1990. A memorial service was held on May 4, 1990 at the Cathedral of St. John the Divine in New York City, with over 1,000 people in attendance.

Since his death, Haring has been the subject of several international retrospectives. The work of Keith Haring can be seen today in the exhibitions and collections of major museums around the world.

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Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney.

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My favourite art work of his.