Postmodern and Pop.prs
From Modernism to Post-Modernism
Abstract Expressionism: the art work becomes an environment; the
presence of the artist is central as the artist "lives" in the process of making the
art work
Pop art: real life enters the art work; the art work enters real life
a confusion of reality and illusion/fantasy
minimalism: the art work enters the real world even as it maintains its
difference; the art work challenges space and the spectator and denies the
presence of inner content
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Postmodern and Pop.prs
A postmodern paradigm:
Neo-Dada of the
Sixties?
art as a commitment to the unknowable or uncertainty
inconstancy of form-->formlessness:
confusion of boundaries of media, of real and unreal,
of the original and the copy
the disguised or fragmented human body
Richard Hamilton: Just what is it
about today's homes that makes
them so appealing? (1956)
The Pop Art
Tendency
E. Paolozzi: I Was a Rich Man's
Plaything, 1947
Rosenquist: President Elect, 1960 (oil on fiberboard, 84 x 146")
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Postmodern and Pop.prs
Wesselmann: Still Life #20, 1962
(collage, assemblage, wood, bulb, sink, 46 x 48")
Bathtub Collage #3, 1963 (84 x 106 x
20")
Still Life #31, 1963 (oil, collage,
working t.v., 48 x 60"
Great American Nude #6,
1961 (48 x 48")
Great American Nude #28, 1962 (48 x 66")
Smoker #9, 1973 (83 x 89";
oil on canvas)
Robert Venturi and Denise Scott Brown:
Learning from Las Vegas, or is there such a thing as Pop Architecture?
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Postmodern and Pop.prs
Robert Venturi and Denise Scott-Brown: Guild House (in Philadelphia), 1960-63
Goofy's Gas in Mickey's
Toontown, 1993
Michael Graves: Team Disney
Building, Burbank, 1990
Dick Tracy, 1960 (casein, crayon, canvas)
Andy Warhol and Roy Lichtenstein:
Denial of the self in the name of
mechanical reproduction?
Warhol: Popeye, 1960
Roy Lichtenstein: Hopeless, 1963
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Postmodern and Pop.prs
Before and After (1960-1; version one -left; version 2, right-- synthetic polymer
and silkscreen ink on canvas)
Telephone, 1963;
(below): ad for Bell Telephone, from
1928
Lichtenstein's Hopeless and the
original source (comic by Tony
Abruzzo, Secret Hearts
Takka Takka,
1962 (magnum
on canvas, 68
x 48")
Do-It-Yourself (Flowers), 1962
(synthetic polymer and prestype on
canvas, 69 x 59")
Eddie diptych
(two panels, 44 x
52")
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Postmodern and Pop.prs
100 Soup Cans, 1962 (82 x 52")
Marilyn diptych, 1962; silkscreen ink, synthetic polymer on canvas, 82x114"
Orange Disaster, 1963 (110 x 82")
the "dis"illusionment of Martha Rosler: Bringing the
War Home: The House Beautiful Series (1965-72;
original montages - reprinted in color in 1991)
"Giacometti" on the left; untitled on the right
Vacation Get-Away
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