AT the DIA Curator Clare Rogan Brings Pop Art to the Fore in Exhibit
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Dave Garcia Returns to Affirmations Out Night Returns March 28 to Ann Arbor Film Fest POP ART AT THE DIA Curator Clare Rogan Brings Pop Art to the Fore in Exhibit PRIDESOURCE.COMPRIDESOURCE.COM MARCH 21, 2019 | VOL. 2712 | FREE VOL. 2712 • MARCH 21, 2019 • ISSUE 1103 PRIDE SOURCE MEDIA GROUP 20222 Farmington Rd., Livonia, Michigan 48152 Phone 734.293.7200 PUBLISHERS Susan Horowitz & Jan Stevenson EDITORIAL Editor in Chief 28 Susan Horowitz, 734.293.7200 x 102 [email protected] Entertainment Editor Chris Azzopardi, 734.293.7200 x 106 [email protected] Feature News Editor Kate Opalewski, 734.293.7200 x 108 [email protected] Editorial Assistant Eve Kucharski, 734.293.7200 x 105 16 14 [email protected] News & Feature Writers Emell Derra Adolphus, Michelle Brown, Ellen Knoppow, Jason Michael, Drew Howard, Jonathan Thurston CREATIVE Webmaster & MIS Director Kevin Bryant, [email protected] Columnists Charles Alexander, Michelle E. 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Warhol’s “Campbell’s Soup Cans,” a 32-canvas old colors, clear-cut lines and often, realized that not only did we have wonderful Pop art is unquestionably eye-catching installation that imitated a grocery store’s deceptive simplicity; those are just a pop art prints and pop art drawings but that and bold, frequently using popular products display of the soup, an incredibly popular item few common characteristics of the pop we got them early on.” as source material, and often, Rogan said, it of the day and something that only recently Bart movement and exactly what will grace the In fact, Rogan went on to say that many of the had become widely accessible. Though that delivers a message that’s deeper than what Detroit Institute of Arts’ walls now through works in the DIA’s collection were purchased initially meets the eye. particular work isn’t available to view at this late August of this year in the exhibition within a year of their creation in the 1960s and “Pop is really playful. It’s witty, it’s complicated exhibit, Warhol’s art, along with that of many “From Camelot to Kent State: Pop Art, 1960- ‘70s, at the height of the U.S. pop art movement. and it’s about embracing the world around us,” of his contemporaries, appears in “Camelot to 1975.” Featuring over 70 different objects from Perceptive DIA visitors might recognize a few she said. “It very much comes out of a moment Kent State” and engages the viewer with that the height of the movement, it’s a sampling of the pieces featured in this exhibition have in the ‘50s when artists were really focused on pop art mentality with what Rogan calls “a real of some of the best-known pop artists of all been moved from their regular homes within their inner thoughts, on reaching authenticity celebration of popular culture.” time, many of whom, like Andy Warhol, were the museum’s contemporary galleries. using techniques that tapped into very intuitive “Really engaging with what was a wonderful openly LGBTQ. When asked why she chose this “The Oldenburg profile ‘Airflow’ and the [places] very much inspired by Zen meditation.” period in economic growth of mass media, particular art form to be her debut exhibition sculpture, the ‘Double Portrait of Henry And pop art, or “popular” art, was by many television, color television, advertising, Madison in her current role at the DIA, Curator of Prints Geldzahler’ [by Marisol], are usually in our considered to be a direct answer to the abstract Avenue, comic books,” she said. and Drawings Clare Rogan said that once she permanent galleries for contemporary art. But expressionists of the day like Jackson Pollock What was perhaps most revolutionary saw the DIA’s existing pop art collection, it was I wanted to bring them into context with the or Mark Rothko, by celebrating the everyday about the pop artists of that time, too, was an easy decision. pop art prints, with the pop art multiples,” and banal. The British Tate galleries officially their use of materials and methods that were “This is an exhibition based on the DIA Rogan said. “Multiples is a term used for three- describe the movement as a “revolt against normally commercial like lithography and collection. Everything in the show, except for dimensional editions, editions where instead the dominant approaches to art and culture screen printing. the Andy Warhol ‘Electric Chair’ — which of being a lithograph or a screen print, it’s a and traditional views on what art should be. “And they’re doing this at a time when many is a wonderful loan from a local collector three-dimensional object but it’s not unique Young artists felt that what they were taught of the gatekeepers in art are saying, ‘High art is — belongs to the DIA,” Rogan said. “One of — there are a number of them, multiples. I at art school and what they saw in museums very serious and low art is this mass-produced the wonderful new things about coming to a wanted to bring them back into that context.” did not have anything to do with their lives or food, mass-produced packaging, magazines — new collection is discovering where they have the things they saw around them every day.” this is low art,’” Rogan said. “And pop artists 4 BTL | March 21, 2019 www.PrideSource.com are playing with all of those definitions. They’re “It happened to be the week of May 4, 1970, reaching out and saying, ‘Wait a minute, let’s the week when the Ohio National Guard was look more, let’s celebrate, let’s critique.’” called onto the campus at Kent State in response Perhaps one of the best examples in this to protests against the Vietnam war and the exhibit of depth within a literally outwardly expansion of it into Cambodia,” Rogan said. “He commercial package is Corita Kent’s 1965 was deeply shaken by it and he strongly opposed work “Enriched Bread.” From the outside, the the Vietnam war and he felt that by making this screen print obviously plays off the packaging he could help keep the shame in our minds. of Wonder Bread, a new product at the time, So, this is a screen print working with very, but holds much deeper meaning when Kent’s very accomplished German design press, 13 background is explored. different colors and 13 different screens. [They “She was a Roman Catholic nun in a are] aligned and created in a way that creates convent in Los Angeles and was head of the that flickering instability of the color television art department for the college that the order screen in the way that color TV was not crisp ran. Though she was a nun, she was engaged and it was wavy and moved and [emphasized] with the outside world and fascinated with that sense of not quite knowing of what this new technologies around the outside world horrific photograph is in front of us.” like grocery stores,” Rogan said. “[This print is] Though this style contrasts starkly with based on an advertisement of Wonder Bread the bright, crisp lines and seemingly cheery and then the quote is from French existentialist presentation of the “F-111” bomber shown at writer and philosopher Albert Camus who the start of the exhibit, the use of the pop art famously created an essay that urged artists is similar. to connect with the outside world. This is a wonderful play between that philosophy and, at the same time as a Catholic nun, it’s a Filled With LGBTQ Icons metaphor of the Eucharist.