Pop Art Timeline

Reference List

https://www.artfund.org/news-pages/popart-timeline/index.php

http://www.poparthistory.com

https://www.barnettfineart.com/blog/collectable-art/is-pop-art-prevalent-to-todays-society/

http://www.bbc.co.uk/timelines/zwytpv4

http://www.theartstory.org/movement-pop-art-artworks.htm

http://www.theartstory.org/artist-blake-peter-artworks.htm

http://www.theartstory.org/artist-hamilton-richard-artworks.htm#pnt_1

http://www.theartstory.org/artist-johns-jasper-artworks.htm#pnt_1

http://www.theartstory.org/artist-rosenquist-james-artworks.htm

http://www.theartstory.org/artist-rauschenberg-robert-artworks.htm#pnt_4

https://www.myartbroker.com/artist/banksy/barcode/

https://paddle8.com/work/banksy/71647-bomb-love

http://www.theartstory.org/artist-dine-jim-artworks.htm

https://www.widewalls.ch/consumerist-culture-art-10-artworks/

http://www.tate.org.uk/art/artworks/hamilton-just-what-was-it-that-made-yesterdays-homes-so-different-so-appealing-upgrade-p20271

http://www.tate.org.uk/art/artworks/warhol-marilyn-diptych-t03093

https://collections.dma.org/artwork/5270952

Origin

Today

1950

1970

1990

Pop Art emerges in the U.s.

American pop art came about a few years after its British counterpart, emerging in the later 1950's

One of the biggest differences between British pop art and American pop art was that British pop art focused on a more light-hearted tone and often tended to incorporate humor; American pop art, on the other hand, was a product of the large amount of marketing that Americans tended to be subjected to, and in order to differentiate itself from this more complex, even artistic mass media, the subject matter and tone tended to be more serious and dramatic. The less commercialized culture of Britain at the time allowed their pop art to take on more of a tone of parody, without much need for differentiation.

Though pop art doesn't tend to openly criticize this state of affairs, it is heavily influenced by it. As a result, pop art resonated very deeply with the mass population, as, unlike many movements before, it incorporated subject matter and techniques that a wide audience was already very familiar with.

2004

Barcode by Banksy

2003-2004

1970

1965

2010

1958

2011

Ben is on the Money by Ron English

1963

1960

1954

1952

1957

1956

2005

1964

1969

1968

Super Supper by Ron English

1955

1962

1966

1961

Jesus Christ With Shopping Bags by Banksy

Just What Is It that Makes Today's Home So Different and So Appealing?

The term “pop art” is used for the first time in the U.S. by the Museum of Modern Art in New York during a symposium.

1947

Skyway by Robert Rauschenberg

Flag by Jasper Johns

Bunk! by Eduardo Paolozzi

President Elect by James Rosenquist

Bomb Love by Banksy

Drowning Girl by Roy Lichtenstein

Lichtenstein abandons Pop Art

Sky Garden by Robert Rauschenberg

Hamilton further defines Pop Art

Warhol is shot

Hearts in the Meadow by Jim Dine

Lawrence Alloway furthers his definition of Pop Art

Warhol churns out creations in the Factory

By Richard Hamilton

On the Balcony by Peter Blake

I Was a Rich Man’s Plaything by Eduardo Paolozzi

Radical feminist Valerie Solanas shoots Andy Warhol which would change Warhol’s life forever; the Factory became more tightly secured and Warhol never fully recovered; analagous to the state of the Pop Art Movement.

In July of 1969, the National Aeronautics and Space Administration (NASA) invited Rauschenberg to Cape Canaveral, Florida, to witness the launch of the momentous Apollo 11 mission and granted him unrestricted access to the grounds and facilities, allowing him to explore the facilities and meet with scientists as well as utilize official photographs and technical documents. The visit instilled a renewed sense of optimism in Rauschenberg, and regarding NASA's missions, he said, "The whole project seemed one of the only things at that time that was not concerned with war and destruction."

Rosenquist was fascinated by the popularization of political and cultural figures in mass media. In his painting President Elect, the artist depicts John F. Kennedy's face amidst an grouping of consumer items.

Moving away from his iconic Pop Art style, Lichtenstein works on his Modern Paintings and Modern Sculpture series.

Another one of Paolozzi's groundlaying works. He used the same style he used when creating "I Was a Rich Man's Plaything". Eduardo's work was essential in establishing what would come to be Pop Art

Perhaps playing with the idea that ben franklin is a well known symbol of what this country was built on, but now all that the popular culture sees him on or as is a currency used to consume. He still represents america, but now the modern day american dream of capitalism and consumerism. We see the collaging technique and colors used in Pop Art yet again, but again, a more direct criticism of modern culture.

‘The term, originated in England by me, as a description of mass communications, especially, but not exclusively, visual ones’

In the foreground, it shows a leopard in liberation from an animal cage constructed of a barcode which can be seen in the background. Like many of Banksy's works, the artwork allows for several interpretations. The use of the barcode immediately evokes consumption and capitalism. The way Banksy used this symbol so as to make it a cage is a clear attack against the enslaving nature of consumerism and against large corporations. According to the artist, consumerism restricts people like prison bars.

In Banksy's stencil, the leopard has managed to freed himself from the prison of consumption, as a way to show consumers they are not powerless against consumerism. The big cat embodies the diversity of forms whereas the notion of consumerism suggested through the image of the barcode evokes conformism.

‘Popular (designed for a mass audience); Transient (short term solution); Expendable (easily forgotten); Low Cost; Mass Produced; Young (aimed at Youth); Witty; Sexy; Gimmicky; Glamorous; and Big Business’

This new method of creation of Pop Art fed the criticism which began a year earlier. Further increasing the public and critic's frustration with the movement

Johns sparked the Pop Art movement in America by creating and displaying possibly the most popular and beloved image in America. Especially at the time when he created the piece. It follows the definiton of Pop Art, and involved a subject which got a lot of attention from his audience. Thus bringing more attention to the Pop Art Movement in the US.

In this work, we see the an adaptation of the Last Supper. Ron English often describes his works as “mash-ups of high and low cultural touchstones”, which is what characterizes the entire POPaganda series of works. As you can tell from the name of the style he categorized his works by, it is heavily influenced by Pop Art.

This work continued what some of the early work established by including advertisements and images from popular culture. It also combines high art within the painting. The entire piece is tied together by the theme of "On the Balcony",

In the work, we see a worn-out Jesus on an invisible crucifix, carrying shopping bags in each hand. This piece combines High and Low art with its depiction of Christ crucified and its addition of the popular image of shopping bags from Christmas season. This is a very direct criticism of our modern cultures consumerism; especially around Christmas time. He is both pointing out the true meaning we are missing, and the shame that the current culture brings.

This piece contains images of President Kennedy, space capsules, an American eagle, construction sites, urban scenes, and diagrams of the earth and moon from outer space. It also contains many aspects of American history in the 1960s. Robert Rauschenberg has taken these everyday images from books and magazines and combined them with art-historical references. He seemed to want to emulate the feeling you might experience while walking on a busy city street with media and adverts all around you; much like the rest of Pop Art. He stated, "I was bombarded with television sets and magazines, by the excess of the world. I thought an honest work should incorporate all of those elements."

The visual style of Pop Art is established; bright, often primary colours, iconic imagery drawn from advertising and mainstream media, use of collage, silkscreen, large-scale canvasses and the use of irony, parody and wit.

Collins Dictionary describes Pop Art as: ‘a movement in modern art that imitates the methods, styles, and themes of popular culture and mass media, such as comic strips, advertising, and science fiction’

Due the increasing development of Pop Art in the US: Billy Apple and others first ventured to the United States and met Andy Warhol. British and American artists collaborated and helped to bolster the style's prominence on the art scene.

This piece takes Pop Art and departs as it takes a popular symbol of the heart and makes it into something unique.

Said to be the first Pop Art piece, and it did well as soon as it was created. Beginning what would eventually become the Pop Art movement. Paolozzi did not live in America, but he used images from American magazines from the time, which were readily available from the US soldiers stationed in Europe after WWII. His reasoning for this new style was “food and automobile ads spoke more eloquently and economically of dreams than any conventional art was able to do”

The exposion of red and blue as well as the choas of the collection of images is analagous to the sensory overload experienced during the launch. The composition is similar in this aspect to how Pop Art models the sensory overload from mass media and advertisements.

This two-color screenprint is emblematic of Banksy’s rebellious street art aesthetic, using shocking juxtapositions to create humorous commentaries on contemporary culture and society. Here, a young girl is seen hugging a missile as if it were a toy, a pointed reflection on war and militarism. The style of the piece is not far departed from Warhol's Pop Art style. It also plays with a similar topic, although it is much more direct in its criticism.

Another near exact copy of a comic strip. In his most popular piece, Lichtenstein yet again plays with the ideas of culture and originality while mixing High and Low Art.

Rosenquist stated "The face was from Kennedy's campaign poster. I was very interested at that time in people who advertised themselves. Why did they put up an advertisement of themselves? So that was his face. And his promise was half a Chevrolet and a piece of stale cake."

The finished collage presents all the multiple ways of communicating information available at that time, reflecting Hamilton’s ironic interest in popular culture and modern technology. This piece further defined the Pop Art movement, and continued the established style.

This text is pretty much a direct quote. I didn't want to do the piece any injustice given how beautiful, complex, deep, and meaningful it is. https://www.myartbroker.com/artist/banksy/barcode/

1963

1962

1961

1955

1966

1952

1964

1957

Standard Station by Ed Ruscha

Self Portrait With Badges by Peter Blake

The Independent Group Forms

Target with Four Faces by Jasper Johns

The Guggenheim presents Landmark Pop Art show

BLAM by Lichtenstein

Double Isometric Self-Portrait by Jim Dine

Hommage à Chrysler Corp.

by Richard Hamilton

Curated by IG’s Lawrence Alloway; it marks the high point of Pop Art with work by Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist and Andy Warhol included.

Where the first pop artists in London's art scene met and collaborated. This group produced many of the first exhibitions to feature pop art, and included a number of artists that are considered to be founders of the movement. Among them were Richard Hamilton and Eduardo Paolozzi, who helped to define the movement when it was in its infancy. Art critic Lawrence Alloway was also among the members of the Independent Group, and he is credited with coining the term “pop art,” though some say it was Frank Cordell who came up with the term.

Dine believed that the objects he experienced in his everyday life had a distinct power, in their ability to be immediately recognizable. He consequently chose a series of personal objects in order to create self-portraits. Within this piece, he does so using his robe. The bright colors, defined lines, and use of popular items all contribute to its belonging to the Pop Art movement.

Johns excluded the eyes of the faces, forcing the viewer to further analyze the piece rather than just have the faces be the subject. Johns left the work in a vague state, allowing the viewer to analyze the interactions occuring themselves. For example, the seemingly benign images can imply the targeting of the anonymous masses by global political powers as well as by corporate advertising and the mass media. The beautry of this piece is that there is no correct analysis. This piece is not exactly the Pop Art style, but it the way in which it is open for interpretation, and most likely related to popular culture is what makes it important to the movement.

This piece is almost an exact copy of a comic. It is one of his many paintings that display subject matter from popular comics, Lichtenstein defined his career by experimenting with the boundaries between high and low art, which raised questions about the nature of culture and originality without providing any definitive answers. As with most of Pop art, it is unclear whether Lichtenstein is applauding the comic book image, and the general cultural sphere to which it belongs, or critiquing it, leaving interpretation up to the viewer

In Standard Station, Ruscha transforms the everyday image of the gas station into a symbol of American consumer culture.

One can make out the form of a woman wearing red lipstick and a fashionable bra leaning over a car. This is one of a series of works that examine the adverts coming specifically from the auto industry. The industry in which the bodies of women and cars are frequently compared. Hamilton highlights the fetishization and objectification in the post-War economy using popular productions from the current mass media.

In this piece, Blake depicts himself as a young man defined by his obsession with American youth culture. He is wearing fashionable Converse trainers, turned up jeans, a plethora of badges and a glum expression on his face. The badges suggest that the artist is trying to forge an identity for himself, aligning himself to as many causes and popular icons as possible in the hope of finding one that will stick. The attempt seems to be unsuccessful though, as the badges support an American presidential candidate (who is unpopular), Elvis (who was losing popularity by 1961) and Pepsi (Coca Cola's less successful rival). He is essentially manifesting himself in just the way Pop Art does. Displaying himself by displaying popular images from mass media.

1964

1962

1963

In this piece, Lichtenstein presented charged scenes in an impersonal and indirect manner, leaving the viewer to decipher meanings for themselves. While still using his same style.

1961

"flying through the flak of consumer society to question the collusion between the Vietnam death machine, consumerism, the media, and advertising," F-111 suggests complicity between this "war machine" and consumer culture through the usage of the Pop Art style and imagery

F-111 by James Rosenquist

Whaam! by Lichtenstein

Andy Warhol has his first solo show

Roy Lichtenstein begins to develop his first Pop Art pieces, and says ‘Pop Art is the use of commercial art as a subject matter in painting. It was hard to get a painting that was despicable enough so that no one would hang it – everybody was hanging everything. The one thing everyone hated was commercial art; and apparently they didn’t hate that enough either.’

Warhol’s first solo show in Los Angeles displays the now infamous 32 paintings of Campbell’s soup cans, one for every flavour.

What made these works significant was Warhol's use of universally recognizable imagery, such as a Campbell's soup can, Mickey Mouse, or the face of Marilyn Monroe, and depicting it as a mass-produced item, but within a fine art context. Warhol wasn't just emphasizing popular imagery, but rather providing commentary on how people have come to perceive these things in modern times: as commodities to be bought and sold, identifiable as such with one glance.

1964

1962

1963

Silver Car Crash (Double Disaster) by Andy Warhol

Life magazine voices Pop Art backlash

Warhol exhibits Marilyn Diptych

In this piece we see many similarities to his Marylin Diptych. There is the use of his famous Pop Art style to play with and contras the idea of mortality through disastrous situations.

Marking both the peak of the Pop Art Movement, as well as the beginning of its decline. As well as empasizing the confusion and frustration caused by the style's ambiguity.

Marilyn Monroe died in August 1962. In the following four months, Warhol made more than twenty silkscreen paintings of her, all based on the same publicity photograph from the 1953 film Niagara. Warhol found in Monroe a fusion of two of his consistent themes: death and the cult of celebrity. By repeating the image, he evokes her immense presence in the media. The contrast of colour with black and white, and the effect of fading in the right panel are suggestive of the star’s mortality.

1940

2000

1960

1980