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

minimalism: the art work enters the real world even as it maintains its Pop art: real life enters the art work; the art work enters real life difference; the art work challenges space and the spectator and denies the a confusion of reality and illusion/fantasy presence of inner content

ImagePage 1 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. 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: The Pop Art confusion of boundaries of media, of real and unreal, Tendency of the original and the copy the disguised or fragmented human body

Richard Hamilton: Just what is it E. Paolozzi: I Was a Rich Man's about today's homes that makes Plaything, 1947 them so appealing? (1956)

Rosenquist: President Elect, 1960 (oil on fiberboard, 84 x 146")

ImagePage 2 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. 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 Still Life #31, 1963 (oil, collage, 20") 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"; Robert Venturi and Denise Scott Brown: oil on canvas) Learning from Las Vegas, or is there such a thing as Pop Architecture?

ImagePage 3 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. 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

ImagePage 4 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs

Before and After (1960-1; version one -left; version 2, right-- synthetic polymer Telephone, 1963; and silkscreen ink on canvas) (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")

ImagePage 5 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. 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

ImagePage 6 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes.