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..