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Art Imitating Life Imitating Art

The late 1950s saw a new movement in the art world this became known as “pop art” due to the fact that the artists in this movement with this movement manly Andy Warhol and Roy Lichensten of the unites states as well as David Hockney and Derek Boshier of Great Britain, used elements of popular culture as main sources of their work. A good example of this is Warhole’s screen prints of Marilyn Manroe, where he took a famous icon of the time and used a mass production technique to make her into a work of art. Lichenstine looked at a different element of popular culture / youth culture- comic books.

He used this style of painting and drawing to create a comic strip image. For example “Wham”, although looks screen-printed it was infact panted by hand dot by dot. Hockney was influenced by graffiti a part overlooked by his contemporaries, he used it in the form of messages scrawled across the background of his paintings . Hockney said that he did this in order to make it clear to the viewer what the picture was about. Derek Boshier painted a series of pieces based on ideas he got from a toothpaste commercial. denti-kit man” was his way of suggesting how easy it was for companies to manipulate people with the use of advertising and create mass markets. The whole ideas of pop art, as to take things from everyday life and make them into a piece of artwork. These things were those, which the people of post-war Britain were not ready to consider art in any way. There was a thing like Campbell’s soup can of Warhol, The kitchen utensils of Tom Wesselman and Richard Hamilton and child like scribbles of David Hockney.

Due to the art boom, in the 1960s and clear trends through pop art That designers were able to pick up on these and incorporate them into their work, influenced by fashion icons, movie stars, technology, and motorcars. Although the artists did have some overlapping styles, pop art focuses more on the subject and less on style, which was left up to each individual artist. The main themes that is evident in all pop art revolves around modern social values. The style in which these values were portrayed varied depending on the culture and artist.

Critic Barbara Rose claimed in her review of a Pop Art show that Pop Art, I wish to disagree with the assumption that pop art is an art style. It is not these artists are linked only through their subject matter, not through athetic similarities. This makes it possible to talk of the iconography or attitudes of Pop art, but not of Pop art as an art style, as one would speak of Baroque or Cubism. Bondo, 1998 In America, Pop Art used the images and techniques of mass media, advertising, and popular culture, often in an ironic way to play off the social issues of popular culture.

The art form developed rapidly once reaching the U. S. New York City, often viewed as the epicenter of American popular culture, fostered the growth of many of the most highly regarded pop artists, including Warhol, Rosenquist, Hockney Segal and Lichtenstein. California, namely San Fransisco was recognized as the Pop Art capital of the west coast Bourdon, 1989, 12 Subject The subject of Warhol’s work revolved around various American social issues of the mid-century. As America exited from World War II and entered the Baby Boom era, the culture had become decidedly sanitized.

Some of this could be attributed to the Cold War and fear of the enemy. The flight to suburbia, mass production, conservative family values, and development of new social standards also played a major role in this Leave-it-to-Beavering of the nation. This was also the period of time where admass culture had its beginnings. Warhol played off the irony of these issues in such works as Campbell’s Soup Cans (fig1) and his famous Brillo Boxes Bourdon, 1989, 34 During the 1960’s, the nation began to see rapid changes.

The space program was under way, the Vietnam war was in action, Kennedy was killed, racial equity became and issue and the hippie movement was at its peak spreading its trademark ideals of free love, drugs and music. Although Warhol continued his focus on the irony of admass culture, he began to branch out into new territory. He began to print his Flowers series (Fig 2), which had a decidedly psychedelic flavour to them, matching the flavour of the current social scene Bourdon, 1989, 42 As the 70’s disco scene came to rise, Warhol’s work followed.

Warhol himself frequented many of New York City’s hottest, most glamorous nightclubs. Studio 54, famed for its exclusivity, was one of Warhol’s favorites. It is at this period that Warhol became totally engulfed with creating works of other people, mostly celebrities. Ever since childhood, Warhol had been obsessed with celebrity life and fame. Some of Warhol’s most famous works were of celebrities. Many were chic designers such as Halson, Diane von Fursenberg, Jean Paul Gaultier and Yves Saint Laurent Bourdon, 1989, 53 Death and disaster was also a subject that Warhol worked with, especially during the early 60’s.

These subjects contrasted somewhat with his others, for they seemed to be far more gruesome and vulgar. However, it was said that these were not intentionally vulgar, but again a clip from popular culture. When confronted about the morbidity, Andy said Every time you turn on the T. V. or radio, they say something like ‘4 million are going to die’. That started it. Warhol frequently remarked about news broadcasts that projected deaths. For example, a news program may project that 50,000 people will die in alcohol related automobile accidents.

To most, it seemed as if the media were relating this as a warning. To Warhol, this was a goal to be met. Also, Warhol was obsessed with the way vulgarity looses its effect after view multiple times. This is the reason that he multiplied car accident pictures many times. Many of his famous works, such as Car Crashes, Race Riots, Electric Chair, Suicides and Tuna Fish Disasters were gruesome in nature Bourdon, 1989, 109 Another subject that seemed to permeate his work, especially his movies was sex. This was not the sex that was seen in the pornography of the time, but a more erotic and advante-garde style.

Sometimes, only bared flesh was seen, and other times, it was full blown intercourse. Homoeroticism was another strong theme in these movies. It wasn’t just man with man or woman with woman, that would be too simple. Many of the scenes featured men as women, drag queens and a-sexual. This only added to the weirdness and eroticism. His four most famous movies revolved around sexual themes: Sleep, Blow Job, My Hustler and Flesh Bondo, 1998 . Medium Warhol’s art career began with commercial art, in where he created illustrations using a blotedline technique.

The blot technique is as follows: a completed drawing is taped and hinged to a piece of paper. The original would be inked and then blotted onto the paper. One may wonder, why blotted drawings instead of using the originals? Andy stated, I like the style. Well, it was just that I didn’t like the way I drew. I guess, we had to do an inkblot or something like that at college, and, then, I realized you can do an inkblot and do that kind of look, and, then, it would look printed somehow. Bondo, 1998 . This printed look is what made Warhol famous, adding to his admass culture themes.

For a brief period, Warhol also used rubber stamps and stencils to achieve the machine made, printed look. It was in the early 60’s that Warhol began to use the silk-screen method. Looking back, the rubber stamp method he was using to repeat images over and over a Warhol trademark suddenly seemed to home-grown he wanted something stronger that gave more of an assembly line effect. The silk-screening method was done by taking a photo and transferring it in glue to silk, and then rolling ink across the silk so that the ink penatrated only certain spots in the silk.

This way, Warhol could accomplish the same image, slightly different each time. The pictures were slightly faded and fuzzy, which resembled the way the media dulls down a story each and every time it is told. Tiny but important details are lost Bondo, 1998 Film and magazines were two other mediums used by Warhol. His films were considered underground and low budget, with sexual themes. They were produced for only a small period in his career, and were many times initiated by friends and lovers. His magazine, however, would live on even after Warhol’s death.

Interview was the name of the magazine that he co-produced with John Wilcock, then editor of an underground newspaper called Other Scenes. The magazine featured text and edited interviews from cassette tapes. Andy often said that he started the magazine to get free tickets to all the premieres. The magazine quickly turned into a monthly review of popular culture, including movie stars, fashion, art, music, television, gossip and celebrity nightlife especially York the notorious Studio 54 Kakulani, New Times Magazine, 1996 . Another medium that Warhol used in the 70’s was known as Oxidation paintings.

These were large canvases created by coating them with copper paint. Warhol and his male friends would urinate on them while the paint was still damp. The uric acid and copper sulfate combined to produce a green patine. The result was work that varied widely, from Pollock-like drip paintings to misty landscapes Bourdon, 1989, 238 . Organization & Style Organization plays an important role in defining Warhol’s work. His use of colour, treatment of loads and values and use of patterns are distinctly Warhol , separating it from that of the other Pop artists.

Colour was key to much of Warhol’s work. In fact, it was so important, that many times Warhol would produce a work without colour first. Then, he would observe the work and think for days what the colour should be used. Many times, colour was applied by airbrush later to achieve an overlay effect. For the most part, his colour schemes were bright. He also used a dot-matrix method that spread colour out by means of a tiny dot pattern. This was achieved through the silk-screening process, and added to the mass produced look Bondo, 1998 .

He used appropriated and serially repeated images to achieve his machined look. This imagery atrracts the eye, and speeds up the work creating his admass effect Bourdon, 1989, 206 The shape of many of the images in his most popular works had a rounded, aerodynamic look to them. The values did not posses lots of detail either. This was to give them a fake look. He was quoted as saying that these resembled club life, plastic clothes, plastic jewellery, plastic surgery, plastic feelings. Kakulani, New York Times Magazine, 1996 The centre of interest on a Warhol image is the image itself.

The objects were not meant to be storytellers , as did the more classic artworks. The Warhol image was intended to tackle the audience with boredom as an issue itself by making the images superficial. Usually, the objects were surrounded with space rather than pattern, extenuating this centre of interest idea Bondo, 1998 . Warhol used a separate style, in which little emotional involvement or identification is created. By use of this method, a statement is made, but does not affect the audience on a personal level. Conclusion Andy Warhol was one of the twentieth century’s supreme artists.

And like many artists, Warhol saw the world in a very diverse way. However, he was misunderstood as one who ridiculed American Pop culture because he did not agree with or fully understand it. Nothing could be more opposite of the truth; Warhol loved Pop culture since he was a child gripped with the beautiful people that graced the magazine covers and movies. He became a Pop culture genius, and through his work, he became a part of it as a social observer and visionary. And through his genius, he launched his work to become an icon of America

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