By Dr. Virginia B. Spivey
Popular culture, "popular" art
At first glance, Pop art might seem to glorify popular culture by elevating soup cans, comic strips and hamburgers to the status of fine art on the walls of museums. But, then again, a second look may suggest a critique of the mass marketing practices and consumer culture that emerged in the United States after World War II. Andy Warhol’s Gold Marilyn Monroe (1962) clearly reflects this inherent irony of Pop. The central image on a gold background evokes a religious tradition of painted icons, transforming the Hollywood starlet into a Byzantine Madonna that reflects our obsession with celebrity. Notably, Warhol’s spiritual reference was especially poignant given Monroe’s suicide a few months earlier. Like religious fanatics, the actress’s fans worshipped their idol; yet, Warhol’s sloppy calls attention to the artifice of Marilyn’s glamorous façade and places her alongside other mass-marketed commodities like a can of soup or a box of Brillo pads.
Genesis of Pop
In this light, it’s not surprising that the term “Pop art” first emerged in Great Britain, which suffered great economic hardship after the war. In the late 1940s, artists of the “Independent Group,” first began to appropriate idealized images of the American lifestyle they found in popular magazines as part of their critique of British society. Critic Lawrence Alloway and artist Richard Hamilton are usually credited with coining the term, possibly in the context of Hamilton’s famous collage from 1956, Just what is it that makes today’s home so different, so appealing? Made to announce the Independent Group’s 1956 exhibition "This Is Tomorrow," in London, the image prominently features a muscular semi-nude man, holding a phallically positioned Tootsie Pop.
Pop art’s origins, however, can be traced back even further. In 1917, Marcel Duchamp asserted that any object—including his notorious example of a urinal—could be art, as long as the artist intended it as such. Artists of the 1950s built on this notion to challenge boundaries distinguishing art from real life, in disciplines of music and dance, as well as visual art. Robert Rauschenberg’s desire to “work in the gap between art and life,” for example, led him to incorporate such objects as bed pillows, tires and even a stuffed goat in his “combine paintings” that merged features of painting and sculpture. Likewise, Claes Oldenberg created The Store, an installation in a vacant storefront where he sold crudely fashioned sculptures of brand-name consumer goods. These “Proto-pop” artists were, in part, reacting against the rigid critical structure and lofty philosophies surrounding Abstract Expressionism, the dominant art movement of the time; but their work also reflected the numerous social changes taking place around them.
Post-war consumer culture grabs hold (and never lets go)
The years following World War II saw enormous growth in the American economy, which, combined with innovations in technology and the media, spawned a consumer culture with more leisure time and expendable income than ever before. The manufacturing industry that had expanded during the war now began to mass-produce everything from hairspray and washing machines to shiny new convertibles, which advertisers claimed all would bring ultimate joy to their owners. Significantly, the development of television, as well as changes in print advertising, placed new emphasis on graphic images and recognizable brand logos—something that we now take for granted in our visually saturated world.
It was in this artistic and cultural context that Pop artists developed their distinctive style of the early 1960s. Characterized by clearly rendered images of popular subject matter, it seemed to assault the standards of modern painting, which had embraced abstraction as a reflection of universal truths and individual expression.
Irony and iron-ons
In contrast to the dripping paint and slashing brushstrokes of Abstract Expressionism—and even of Proto-Pop art—Pop artists applied their paint to imitate the look of industrial printing techniques. This ironic approach is exemplified by Lichtenstein’s methodically painted Ben-Day dots, a mechanical process used to print pulp comics.
As the decade progressed, artists shifted away from painting towards the use of industrial techniques. Warhol began making silkscreens, before removing himself further from the process by having others do the actual printing in his studio, aptly named “The Factory.” Similarly, Oldenburg abandoned his early installations and performances, to produce the large-scale sculptures of cake slices, lipsticks, and clothespins that he is best known for today.
Read a chapter in our textbook, Reframing Art History—"Popular, Transient, Expendable: Print Culture and Propaganda in the 20th century."
Essay by Dr. Virginia B. Spivey
Want to join the conversation?
- Why is pop art so popular, even in today's world?(5 votes)
- It speaks to us in the culture where we live, move and have our being. It's very direct, not an echo of a distant past or a "perfect model" of what the present ought to be or the future may bring. Pop art is NOW, all in capital letters.(7 votes)
- In paragraph one, are the saying that Warhol made these pieces because of mass production, or that his work seems related?(4 votes)
- What technically counts as Pop Art? Is Pop Surrealism (my preferred style) also in the same category?(2 votes)
- Some people have a lot of a talent and not just some picture on a canvas some people actually try instead of destroying a big stop liking the big book. And actually way better if you just actually pay attention to exactly every single line in the piece of art. Then you can recognize and make something that looks really good like flowers for butterfly(2 votes)
- In what specific ways might Pop Art be seen as a reaction against Abstract Expressionism?(1 vote)
- Is this a homework question? It looks like the beginning of a thesis in a Master of Fine Arts program.(2 votes)
- was there a single person who invented POP art?
If so, whom?(1 vote)
- You know, even Edison had an entire laboratory of assistants and engineers working for him at Menlo Park. He wasn't just some guy in his grandmother's basement. Pop art emerged, like many inventions that got Edison's name on them, from a movement of many people.(1 vote)