Pop on the Move

REVIEW ARTICLE

POP ON THE MOVE

aLeX KitnicK

international Pop. curated by Darsie alexander with Bartholomew ryan. 2015–16. Minneapolis/Dallas/Philadelphia.

On August 24, 1964, Susan Sontag wrote down in her journal the fol- lowing thought about Pop Art:

Pop art: only possible in an affl uent society, where one can be free to enjoy ironic consumption. Thus there is Pop art in England— but not in Spain, where consumption is still too serious. (In Spain, painting is either abstract or social protest realism.)1

There are kernels of truth as well as clichés in this defi nition: Pop is wrapped up with practices of consumption; it is connected to affl u- ence; it is bound up with irony (which is to say, it isn’t “serious”). The terms infl ect each other as well. Irony modifi es consumption, giving it a droll, distant, campy sheen. In many ways this is the commonplace

1 Susan Sontag, As Consciousness Is Harnessed to Flesh: Journals and Notebooks 1964–1980, ed. David Rieff (New York: Farrar Straus Giroux, 2012), 21. In “Notes on Camp,” Sontag offers an alternative version of this thought: “Camp taste is by its nature possible only in affl uent societies, in societies or circles capable of experiencing the psychopathology of affl uence.” Susan Sontag, “Notes on Camp,” in Against Interpretation (New York: Picador, 1966), 289.

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84 a r t m a r g i n s 6 : 3 factor. akey as functioned power cultural and of political asymbol States as United however, the but because dominant, was Pop Art American way. its in stood stripe—still in national those often words, barriers—and real other in proximity; it styled itself as a handholding of the image when the real real when the image of the ahandholding as itself it styled proximity; on turned often incarnations, earliest its in but Pop,tance, especially Ironydis needs thought. we have often morehave sincere been than accordingly, and color Pop magazines), might for lust to its American contributed (which affluence than austerity with aligned more closely of Pop) was birthplace consider the many (which England postwar of Sontag’s example Certainly fortunes. different far worldthe with of ashadow on it parts cast of imagery, terms in Pop’swas wellspring 6 5 4 whom.” by obtained—and be could of information types which and to cross borders were easy the world’s orientation veered in another direction. world’sthe another in veered orientation Watergate, and crisis oil the with Perhaps 1973, in grip. its tightened only imperialism American moment which in apostwar to mapping itself dedicated exhibition the 90s, 1980s and the into well of images, circulation the and media mass the as such themes, up similar to take continued artists one.) many was While there ever if internationalism of image agrisly presents penis, and feet, hands, dismembered and pressentiment) Game—L’art Olympics-Pollution (Pollution Platform Kudo Winners Tetsumi’s Olympic show, work latest the in one. (The a wise 1972 was works produced after not to include decision curators’ The were received. they which in manner the also at but signified) artworks and spread (and how images words, it other looked not at in only how messages America; to Latin Europe from Eastern landscapes political different how it inhabited but also circulated, of imagery class not how only acertain exploring for Architecture, 2008). Architecture, for Centre Canadian (Montreal: Crisis Oil 1973 the to Response Architecture’s Gas: of Out Sorry, and 2007), York: Bloomsbury, (New Post-Sixties the of Birth the and Warhol, Watergate, Breakdown: Nervous 1973 Killen, Andreas see 1973, of importance the on For more Pop International questions. such about thinking in helpful be might that “influence” vertical to opposed as “transfer” horizontal of amodel proposes Fehér Dávid Hungary,” in Pop of Art Transformations Light? the Is “Where essay catalog his In Pop Pop,” of International in Edge The “Introduction: Alexander, Darsie That said, Pop still appeared to be deeply American: not because not because American: deeply to be appeared Pop still said, That But did Pop only flourish in affluent societies? If theStatesUnited If societies? affluent in But Pop did flourish only 5 Fittingly, the International Pop exhibition found its method by by method foundits Pop exhibition International the Fittingly, 4 Despite information’s increasing fluidity, fluidity, information’s Despite increasing , 1970–72, replete with decapitated head decapitated replete with , 1970–72, 6 , 131–48. , 79. - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_r_00190 by guest on24 September 2021 provides a case study for testing different forms of forms reception. different for study provides testing a case Bardot one was of Pop’sBrigitte icons, and her image most distributed produce. desires they and associated of images Pop, but variety to the inappropriate, it would be difficult to call it ironic. it call to difficult be it would inappropriate, it find one might Though Misery. of Erotic Cathedral his away in tucked kept artist the from 1923, Column which Merz Schwitters’s Kurt unlike not monument fandom, and intense to devotion an sure, to be object, uncomfortable an is Locker activity. acreepy as images these all collecting of act the meantto understand we are many. too Ithink angles—perhaps from many but here seen we have acomplicated subject dimensional, ofand Pop one- flat as think on We it. her name typically with achair in or on set at aparty, dress strap spaghetti awhite or in odalisque, an like spread of poses: out number any sideways Bardot striking Brigitte actress French of the from pictures created of spolia akind with papered been sense of interiority haunts the work. the haunts of interiority sense some Nevertheless, on sleeve. its secrets its one wears inversion, this an but in belongings, stores personal where is one typically Alocker ideas. and feelings show,totemto such the tors in encountered astrange is visi objects one first and of the exhibition the works in one earliest of the (1959), Peter Blake’s Locker propaganda. of political instead room walls for amontage bed notably personal: seems that pasting and of cutting aprocess comes through across which others, many it work, as does this the new “real thing.”) “real new the have been might all, after image, out (The of seemed reach. often thing 9 8 7 eight years after Blake’s after years eight Marcel Proust with sequins and gilt paint. gilt and sequins with Proust Marcel Monroe and of Marilyn pictures clipped mixes (1960–61) Boty Pauline by piece of golden Victoriana untitled an decade; the throughout England in persisted atendency such and intimacy, of this oneoffer example Londonin in 1952, Arts Contemporary of theInstitute presented at first spread through copies, which then take on the power of the original. His example of example His original. the of power the on take then which copies, through spread messages how show to on going ikons,” “expendable of asystem toward classics of canon atimeless past moved had society that argued McHale John writer and artist 1959 the In inside. be might what guess to left are we and open, never itwill atleast, us, shut—for is door work’s the Notably, (1969–75). Collagebooks Keiichi’s [U.F.O.] Tanaami or (1970) Observation of Forms Universal Koller’s Július example, for See, well. as locales, other in flourished scrapbook The Locker collages, Bunk! Paolozzi’sEduardo crinkled and scrapbooks soiled testifies theandnot prominence iconsto only in ofstars testifies Locker , in 1967, the Brazilian artist Waldemar artist 1967,, in Brazilian the 8 Painted in blue trim, the object has has object the blue in trim, Painted 7 An excess of affect of affect excess An 9 pervades pervades Some - - 85 K i t n i c k | P o p on the Move Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_r_00190 by guest on24 September 2021

86 a r t m a r g i n s 6 : 3 10 image. the to denaturalize seeks work clearly ism,” this and he wrote, . of natural anew risk the runs of Pop: “Pop-Art wary was himself Cordeiro two? of the it is some Or mixture do we read them? or see legibility: to consider us their asking by images media denaturalizes work the which in away is There lithograph. world offset an the as sent it and into minuses) and pluses, (a of Xs, set markings keyboard with filled acomputer language of grief—in expression her an face in to tightly pulled her hands with woman War photograph—a Vietnam éB.B. não que (Amulher B.B. Is Not Woman Who The In name. by only time but this once again, actress to the turned artist the exhibition, the in included to be latest of the ofmachine. cool the by the intervention is facilitated a star of kissing fantasy The interaction. on-demand ofto mechanical a kind is reduced Bardot, which here idea of magic kissing recipient—but the about Cordeiro’simportant a version is not what’s missing—namely what inmost stony,seems a embrace—but locked stout figures too-cute of Brancusi’s think usheredfor be in comparisons can here—I tory his of course, plenty Of art a kiss. like processonds. is something The bits of and out pushes the lipjust a fewforward in sec machine on, the When turned curve. slightest just the has image the a way that such isin rounded contraption, which these pieces to a mechanical affixed terms). Cordeiro both opposed Cordeiro typically (though Concretism and Neo- abstraction in origins compositionthe artist’s to nods the information, full but not to too pixels big quitebe providing parts by four tall, wide Four squares squares. of grayscale lips into a grid Cordeiro made a work called image than by not being Brigitte Bardot. She exists in the negative, negative, the in She Bardot. exists Brigitte not by being than image by less her defined suddenly is woman the competition, in almost two the with title, its with relation work in complex, but is when seen The 47 (Spring 2012), 60–79. 2012), (Spring 47 Room Grey B.B.,” Not Is Who Woman or, The Culture; Digital Brazilian “Early Price, Rachel see work, Cordeiro’s on For more 1959), 59. (February Design Architectural Ikon,” Expendable “The McHale, John total.” astonishing an make returns, office box actual from apart etc., contests, products, associated cles, arti feature biographies, published, Books media. the “sheswamped way the was feats greatest Monroe’s of one out, points McHale As signify. might icon the what as important as just is iconography of impact The power. her of something captured doing so in and of Monroe versions as themselves presented who Novak, Kim and Mansfield Jayne ing includ actresses inspiring imitation,” “universal her also but iconography” her of details “the only not on remarks he where Monroe, Marilyn on focuses Most” the with Girl “The But Cordeiro had not finished with Bardot. In a work, oneBardot. 1971 with But Cordeiro not had finished The Kiss The ), Cordeiro reformatted an iconic an ), Cordeiro reformatted ( O Beijo ), which breaks Bardot’s), breaks which

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Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_r_00190 by guest on24 September 2021 obstructed images. obstructed and that transmitted at once flow of global Popworks see akind as important most the Carlos—perhaps Roberto star pop Brazilian the to 1966 neon altar of Nelson Leirner’s think might local—one of the ideas with iconography American an inflect show certainly the works in some While of(and imaging). ways images to other connected and up with bound things relational as images it Rather, positioned selves. them in complete sufficient and being as of iconic images truth on the or insist nationalisms ist to of ideas essential itself commit Pop not did internationally, that demonstrates it also perspicacity, tension with this here measures Cordeiro’s If ofslew images. work own its with topics from view tain cer how it bumped displacement: of aform as movement functioned how in such interested also it was world, of the surface on the landed how and they spread ofthe images in Pop interested if was that argue Cordeiro’schosen?) to work seems one of the of not being astatus by defined celebrity, we all are mass of age an (In space of appearance. onceeven the entered she has 11 11 even their most sexist male colleagues could not could achieve. colleagues male sexist most their even that of Pop to extremes underpinnings misogynist the exacerbated often work how is their though, saw. they tions Perhaps striking, whatmost is degrada to responded the Pop female artists many and culture, sumer of con target and subject the Women now) both as were often (then to consider Pop to gender deal agreat identity. relation did in it also (New York: Abbeville Press, 2010), 18–52. 2010), Press, York: Abbeville (New 1958–1968 Artists, Pop Women Subversion: Seductive in Surface,” the “Beyond Sid Sachs, see For more, As much as the exhibition imagined Pop in relation to nationhood, Pop to nationhood, relation in imagined exhibition the as much As - - - New York. ImagecourtesyofAnaliviaCordeiro. 1971. Offsetlithograph,18 ×11 Waldemar Cordeiro. TheWoman WhoIsNotB.B.(Amulherquenãoé), 11 Marjorie Marjorie 15 / 16 inches.MuseumofModernArt, - - 87 K i t n i c k | P o p on the Move Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_r_00190 by guest on24 September 2021

88 a r t m a r g i n s 6 : 3 ing aPop subjectivity. ing component imagin in important especially an was fashion Argentina, in one, in while all experiment movement relations public and art an as appeared Germany, in Realism, Capitalist on gotcanvas: down they whatever as practices to their intrinsic as were just brochure, the and record the cover, and performance poster the the artists, of these many For conveyed them. that networks and surfaces different of as the well icons of as how moved, such investigation an as so much culture high But of Popspace iconography of notbooks. simply the was astudy in of apainter,not amaker once was again for example, Ruscha, Ed others). than better artists some of suited these (which sculpture and of painting categories traditional the into back of Pop artists activities diverse the consolidated it somewhat paradoxically subjects, sites and (in pieces) and the bright new world of culture outside. world new of culture bright pieces)(in the and self aprivate between the territory new maps it flatness, its in painting space. Pimentel’s If sign work somewhat looks like aprison-like within it world to the outside or abody leashconfining connecting extension cord umbilical the an is whether it not is clear instances many in own; life of its on a takes of phoneline a length the home.Often in firmly it but for operates public, Pimentel of the of Pop art an as think often here. We aspect carceral almost on an take bolts and locks with doors as such elements Architectural interiors. of domestic machinery the in tightly locked of bend aknee, the like bodies, of female upoffer sections these works green, and pink, flatred, of patches with filled and black in outlined figures With series. Wanda Pimentel’s Involvement Argentine from the of paintings anumber one revelations—were and of real its show, the works in however— Some affecting most of the extreme. to an pleasure— oral innuendo—and (1964) Cream Ice Axell’s phallic pushes Evelynne while of Pop to light, aspects some more of the necrophilic maid’s aFrench in brings of awoman outfit Haworth’sJann mannequin 13 13 12 display. ashocking in canvas the up off push that breasts three-dimensional has background, on asilver framed her and under up her legspulled model, suit bathing of abrunette triptych Strider’s Chrysler Corp. Chrysler à Hommage Hamilton’s Richard in car the resemble somewhat to honed is shape Their critic Jorge Romero Brest wrote, “Our Pop art was initially more like that of Europe than than Europe of that like more initially was Pop art “Our wrote, Brest Romero Jorge critic the 1967, In art. media driven conceptually amore to door the opened which nomenon, phe short-lived a relatively been have to Pop appears Argentina, In 1967. shoes, platform Fictions Fashion Costa’s Eduardo example, for See, If the exhibition was successful in showing the diversity of Pop’s diversity the showing in successful was exhibition the If , 1957. 13 (Fittingly, artists associated with Capitalist Capitalist with associated artists (Fittingly, , 1968, or Dalila Puzzovio’s display of of display Puzzovio’s Dalila or , 1968, 12 Similarly, - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_r_00190 by guest on24 September 2021 (1966), which used the flat primary colors (1966), primary flat the Godard’s used Masculin-Feminin which as Jean-Luc such films Pop-styled were to, also aspire but there to aform as well as matter of area Pop: subject gray provided movies the be might Cinema program). film accompanying an in as well as Takes,” Halter’s Ed Three in essay “Pop well Cinema: outlined subject excellence a (and par the Pop perhaps medium films, made also ists world. Some the into art back them recirculated then and slogans ary incendi with bottles (1970) Circuits Coca-Cola refashioned Ideological in Meireles’s register, too: Cildo amoreInsertions in and political cuits, loop than a simple one-way appropriation of mass culture by fine art. fine by culture asimple of appropriation mass one-way loop than store.) in a department appeared first shoes, heel of high plataforma doble Puzzovio’s Dalila Dalila and them, to advertise made RenéBlock gallerist the that publications and prints but the by paintings were representednot their by Richter, only Polke, Gerhard and Sigmar Kuttner, Manfred including Realism, 16 16 15 14 ‘What a pity you We weren’t week.’” apity you week. last here did ‘What last me. He designer,’ said, ‘I’ve ‘and the met he just he said, eyed. knew Go ’n’ Steady show roll Ready BBC of rock the at ataping Boshier Derek artist the about seeing Style into book Revolt pop his in greatstory a tells George Melly gadfly The term. of the sense some in expanded artists as themselves imagined and culture, general the into back of seeping Warhol—had some dream simply exhibition—not the in featured artists of the all almost Indeed, scored and folded, and thus boxed and shipped to its next location. next to its shipped and boxed scored thus folded, and and be wheremight lines it contains galleries, one exhibition’s of first the K Boshier’s forms: Special 1961 to other canvas sculptures and paintings compared their artists many folddesign), into back sarily didn’t neces (when art circle loop come didn’t quite full when this even ist began to ship through the international mail system in 1984. in system mail international the through ship to began ist Airmail Paintings Airmail Dittborn’s Eugenio anticipate to appears work Boshier’s 190. 1972), Penguin, (London: Arts Pop The Style: into Revolt Melly, George 2004). Press, MIT MA: (Cambridge, 1960s the of Art the in Time On Chronophobia: Lee, Pamela and 2007) Press, MIT MA: (Cambridge, Democracy Against Television Feedback: Joselit, David example, for See, (New York: Museum of Modern Art, 2004), 129. First published in Spanish 1967. Spanish in published First 129. 2004), Art, Modern of York: Museum (New Avant-Garde the of Writings 1960s: the of Art Argentine Now! Here in Listen Art,” on Pop Reflection and “Report Brest, Romero Jorge Experiences.’” ‘Visual and art’ ‘media toward moved they because rather but Pop art, making stopped soon creators our because only not different, been have consequences the but States, United the Of course, a number of artists did enter their work cir open into entertheir did of artists anumber course, Of Recently, many have begun to think of Pop more afeedback as to think Recently, have begun many : “He, a keen pop music fan, was starry- was : “He, music pop fan, akeen , 1967, a Juddian stack , 1967, stack aJuddian , ed. Inés Katzenstein Katzenstein Inés , ed. , featured in in , featured , which the art the , which 15 But 16 - - 14 -

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90 a r t m a r g i n s 6 : 3 18 17 morality. doesn’t older left to an adhere of “a youth” that style new describes Sontag for example, America,” in Happening appear. “What’s In here, yet too, aesthetics directly; more contents politics but of most address the on Godard, Jean-Luc essay focuses another and Rauschenberg, of Robert mentions silence aesthetics essay on the word. An the using of ever Popnition without defi another offers , which Will Radical of Styles of called essays a book on Pop, published Sontag Susan her thoughts she wrote Five after years put before us. exhibition this of Pops that diversity the what places is generated different in landed But how media catalogs. photographs and magazines, and songs pop as such media, other with shared is to circulate Cinema’sCola. ability of Coca- allure the with of Marx insights the to marry of Pop paintings a kind of ethical fraud or intellectual weak-mindedness,” she writes. weak-mindedness,” she writes. or intellectual fraud of ethical a kind adores Supremes and acontradiction, as the seen is bisexual is and pot smokes and O’Brien Conor Cruise with or agrees submarine a Polaris or boards Committee] SNCCjoins [Student Nonviolent Coordinating different looks and styles. and looks different what is gave it its This material. with mixed plus place, spirit media like something is equation Its generating pure. never is logic—it tory (New York: Anchor, 1969), 212. 1969), York: Anchor, (New Will Radical of Styles Sontag, Susan between. space the about wonder and imagine must we such as network—and the without objects—nodes with We left were exhibition. the of space the in correspondences and meetings such represent to difficult itwas course, Of Smith. England: in name last typical most the with those to postcards sent name) last (a common Novak surname the with those which in system pal up apen setting Spring, Revolutionary its during Prague to went Tilson Joe and Boshier Derek artists British the 1968 In directions. new in work their pushed that York, ajourney New to venturing Tano Festa and Schifano Mario artists Italian the and Museum), Guggenheim atthe tion posi acuratorial take York to 1961 New to in London from moved had (he 1966 in Aires Buenos to trip Alloway’s Lawrence curator and critic English follows catalog The well. as catalytic proved travels Other artist. American the upset (1958) supposedly Plan Cola Coca- Rauschenberg’s of versions ten whose Ishio, Shinohara as such artists Japanese by riffs inspired work their and organized, were discussions Public interest. great generated imperialism American postwar of avatars artistic two these of appearance The 1964. Tokyo in to visit Rauschenberg’s Robert and Johns Jasper as such examples, of anumber of tells catalog The another. to place one from information convey to helping travel), jet by facilitated (albeit contact human old-fashioned through around got also it cinema, and journals, art magazines, in reproductions through Pop traveled key. If also was persons of movement the imagery, disseminating for crucial was media mass the If / / / / / / / / / / / / / / / / / / / / / 17 In this sense Popacombina sense possesses this In 18 “The fact that the same kid kid same the that fact “The - - - Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/ARTM_r_00190 by guest on24 September 2021 might work together after all. after work together might “I don’t believe this to be so.” to be “I don’t this believe 20 20 19 one genuinely excited by what it is trying to provoke. what by it trying is excited one genuinely words, but other in aprovocation, is to work. doSontag’s its title style needed pure—it and strict no longerbe could gather. Radicality and nize to orga ability it the had that powers, radical had style that understood combination, she the off write cynically than But rather Will? Radical? Style? ofto it. paradox ring the had her title that have known must Sontag time, same at one yet the in of Warhol’sera tests—and screen cam the into staring look coolly ather shades her in will—just of radical tance and irony at all. Rather, it tried to see how close to life it get. could to life how to see close it Rather, tried irony and at all. tance Pop wasn’t fact, about in dis So often, alike. death and life and pleasure for line, on the put everything instance Pop this in distance, Refusing raised. and waved be could that abanner Here was local. emphatically and cosmopolitan somehowboth but aPop not flag, anational was This Gil. Gilberto Tropicáliastar pop the by at aconcert abackdrop as later and Flags of outside onceat a Festival hung flag the that to know tant colors), sickly it’s impor bright those against off set chairs electric those of by apiece like Warhol (think something looks flag the while ship. And of dictator grip the in for aBrazil martyr hero, apolitical Here afallen is black. out words, atop in lies cut the gesture, spread amartyr’s out in arms his man, of arecumbent Apicture lowercaseletters. black in appear ahero) be (be marginal, herói seja marginal, words seja the which in Pop.from Consider, national Oiticica’s Hélio for1967, flag red example, and sensuality were a vital part of the mix. of the part were avital sensuality and sex 1969, and in ways new in were merging Pop politics and thing. tant of dis Popas a cold, definition troubles her original ways, many in also, either/or an which than mentality, aboth/and by rather characterized is here that of way anew being Pop. so is words. imagines And Sontag (Annandale-on-Hudson, NY: CCS Bard, 2016), 205–9. Bard, NY:CCS (Annandale-on-Hudson, Adversaries Invisible in Normcore,” and Style, Subculture, on “Notes essay my in previously ideas these of some Iexplored 200. Ibid., It also brings to mind a number of the works included in Inter in works included of the anumber to mind brings It also Things are more complicated than they may first seem, in other in other seem, first may they more are complicated than Things (Cambridge, MA: MIT Press, 1988), 77. 1988), Press, MIT MA: (Cambridge, Pop of Rise and Fall and Rise The Dreams: Modern Pop,” on in Notes Taste: Poor “In Hebdige, Dick See presented.” traditionally otherwise—is or criticism—avant-garde art and art bourgeois in proposal ‘radical’ any which in ness’) ‘serious of (of solemnity, tone the abandoning by ‘politics’ and ‘culture’ terms the atize problem to itserves which in manner the in precisely lies politics’ ‘cultural to contribution “Pop’s writes, Hebdige Dick position. pop aquintessentially as Sontag’s of think We might 19 In other words, Marx and Coca-Cola Coca-Cola and words, Marx other In , ed. Lauren Cornell and Tom Eccles Tom and Eccles Cornell Lauren , ed. 20 This was all part of the style style of the part all was This ------

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