Pop Art

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Lucy R. Lippard vHÍwKm, • ; With contributions by Lawrence Alloway, Nancy Marmer and Nicolas Calas 188 plates 18 in color Giant comic-strip heroes,.oversize fránkfurters; Ben Day dots, Kandy Kolors, brand-name products; Marilyn Monroe/ John Wayné, pin-ups: these are the images of Pop Art. Condemned as a passing fad since it first appeared in the early 1960s, Pop Art has becöme a cause cé/ébre in the United States and abroad, the recipjent of lavish praise,.and viríilent abuse. Lucy Lippard and three noted critics - alt of them on-the-scene witnesses - trace the spectacular growth .of Pop. Lucy Lippard examines Pop's precuráors and rélated styles, ranging from folk art, Surrealism, Dada, Stuart Davis^ámjl Légér to the Reuben group, and Assemblage, Róbert Rauschenberg and^iasper Johns. She analyzes the work of the five hardcore New York Pop artists"- Wárhol, Lichtens^em, Wesse^an, Rosenquist, and Oldenburg - and shows that Pop, despite its qarnival aspects, its orgiastic colors, and... Tovább

Fülszöveg

Lucy R. Lippard vHÍwKm, • ; With contributions by Lawrence Alloway, Nancy Marmer and Nicolas Calas 188 plates 18 in color Giant comic-strip heroes,.oversize fránkfurters; Ben Day dots, Kandy Kolors, brand-name products; Marilyn Monroe/ John Wayné, pin-ups: these are the images of Pop Art. Condemned as a passing fad since it first appeared in the early 1960s, Pop Art has becöme a cause cé/ébre in the United States and abroad, the recipjent of lavish praise,.and viríilent abuse. Lucy Lippard and three noted critics - alt of them on-the-scene witnesses - trace the spectacular growth .of Pop. Lucy Lippard examines Pop's precuráors and rélated styles, ranging from folk art, Surrealism, Dada, Stuart Davis^ámjl Légér to the Reuben group, and Assemblage, Róbert Rauschenberg and^iasper Johns. She analyzes the work of the five hardcore New York Pop artists"- Wárhol, Lichtens^em, Wesse^an, Rosenquist, and Oldenburg - and shows that Pop, despite its qarnival aspects, its orgiastic colors, and its giant scale, is based on a tough, no-nonsense, no-refinement aesthetic. It is a deadpan reproduction, yet life filtered through it "bears little resemblance to real life." Lawrence Alloway - who coined the term Pop Art - contributes a chapter on the development of Pop in Englancf; Nancy Marmer considers Pop in California, where she is associated with Artforum, critic Nicolas Calas, a member of the Surrealist movement in the 1930s and 1940s appraises the icons of Pop; and Lucy Lippard concludes with a sweeping survey of the movement in Europe and Canada. < vy\ ". . t it is difficutt to see how the field of Pop Art could have been more successfu/ly covered than it is in this vo/ume" - The Times Literary Supp/ement "A first-rate short study of the subject" - John Russell, The Sunday Times of London ^ -' • At present New York editor for Art International, Lucy Lippard is the author of The Graphic Work of Philip Evergood, co-author of The School of Paris, and a contributor to The New Art. Lawrence Alloway, Curator of the Solömon R. Guggenheim Museum, 1962-66, is an advisory editor for Art International, an art critic, lecturer, and teacher. Nancy Marmer has been Los Angeles editor for Art Jnternational. Nicolas Calas is the co-author of The Peggy Guggenheim Collection and of Primitive Heritage. Cover designecf fey James Rosenquist, phátograph by Melvin Sokolsky Vissza