Ellen Willis
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816680795
- eISBN:
- 9781452949000
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816680795.003.0020
- Subject:
- Society and Culture, Cultural Studies
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably ...
More
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably more responsible than anyone else for obliterating the line between the avant-garde and mass art. As it happened, the shooting of Warhol had a political dimension, at least in Solanas’s mind. A couple of Warhol’s obituaries solemnly refer to Solanas as a member of a group called S.C.U.M., or Society for Cutting Up Men. Warhol, who once said “I like my paintings because anyone can do them,” died in 1987.Less
This chapter presents an obituary of Andy Warhol, a leading figure in the visual art movement known as Pop Art, who was shot in 1968 by radical feminist writer Valerie Solanas. Warhol was arguably more responsible than anyone else for obliterating the line between the avant-garde and mass art. As it happened, the shooting of Warhol had a political dimension, at least in Solanas’s mind. A couple of Warhol’s obituaries solemnly refer to Solanas as a member of a group called S.C.U.M., or Society for Cutting Up Men. Warhol, who once said “I like my paintings because anyone can do them,” died in 1987.
Steve Redhead
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748627882
- eISBN:
- 9780748671182
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627882.003.0002
- Subject:
- Society and Culture, Media Studies
This chapter is an extract from Baudrillard’s The Consumer Society, with an editorial overview
This chapter is an extract from Baudrillard’s The Consumer Society, with an editorial overview
Alena Alexandrova (ed.)
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780823274475
- eISBN:
- 9780823274529
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823274475.003.0004
- Subject:
- Art, Art Theory and Criticism
This chapter provides an overview of the transformation of the status of religious motifs in the visual art from Surrealism to the late 1990s. When detached from their initial contexts religious ...
More
This chapter provides an overview of the transformation of the status of religious motifs in the visual art from Surrealism to the late 1990s. When detached from their initial contexts religious motifs cease to signify religious ideas or content, and acquire new meaning. The critical mode of reference to religion, especially in the second half of the twentieth century, articulates a self-reflexive moment that problematises the status of images and the mechanisms of their circulation and display. In the second half of the century, religious motifs embedded in artworks lost their more direct iconoclastic resonances, and were used increasingly as a critical tool directed towards the institution of art itself. An object as the ready-made situated between being an artwork and an object, brought to visibility the “religious” nature of the conditions of the display of art-objects. The medium of video enabled a re-mediation of older art – both film and culturally loaded iconic religious images. This aspect of the medium was by artists to invoke or create a quasi-mystical experience, or to re-frame existing images and film footage in order to make a critical comment on the tradition.Less
This chapter provides an overview of the transformation of the status of religious motifs in the visual art from Surrealism to the late 1990s. When detached from their initial contexts religious motifs cease to signify religious ideas or content, and acquire new meaning. The critical mode of reference to religion, especially in the second half of the twentieth century, articulates a self-reflexive moment that problematises the status of images and the mechanisms of their circulation and display. In the second half of the century, religious motifs embedded in artworks lost their more direct iconoclastic resonances, and were used increasingly as a critical tool directed towards the institution of art itself. An object as the ready-made situated between being an artwork and an object, brought to visibility the “religious” nature of the conditions of the display of art-objects. The medium of video enabled a re-mediation of older art – both film and culturally loaded iconic religious images. This aspect of the medium was by artists to invoke or create a quasi-mystical experience, or to re-frame existing images and film footage in order to make a critical comment on the tradition.
David Bordwell
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226352176
- eISBN:
- 9780226352343
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226352343.003.0008
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter traces the heritage of the four critics across the years up to the 1980s. Ferguson, the earliest of the critics considered, was the last to be rediscovered, after celebrity criticism of ...
More
This chapter traces the heritage of the four critics across the years up to the 1980s. Ferguson, the earliest of the critics considered, was the last to be rediscovered, after celebrity criticism of the Kael-Sarris variety took over film reviewing. Agee’s collection, AGEE ON FILM, was the first major collection of a critic’s writing and, because he won the Pulitzer prize posthumously for A DEATH IN THE FAMILY, the anthology garnered enormous praise. It led other critics to collect their reviews as well. Manny Farber created his own collection, strategically selecting items to create a certain persona for himself—one based on his more arcane 1960s writings for film and art journals. Parker Tyler wrote prolifically about non-Hollywood film (chiefly foreign cinema and avant-garde film) and returned only to Hollywood movies to point out that the sexual subtexts he had revealed had come to the surface, rather blatantly. The same period revealed a growing awareness that these critics had been pioneers in arts journalism, and that the new trends owed a great deal to them.Less
This chapter traces the heritage of the four critics across the years up to the 1980s. Ferguson, the earliest of the critics considered, was the last to be rediscovered, after celebrity criticism of the Kael-Sarris variety took over film reviewing. Agee’s collection, AGEE ON FILM, was the first major collection of a critic’s writing and, because he won the Pulitzer prize posthumously for A DEATH IN THE FAMILY, the anthology garnered enormous praise. It led other critics to collect their reviews as well. Manny Farber created his own collection, strategically selecting items to create a certain persona for himself—one based on his more arcane 1960s writings for film and art journals. Parker Tyler wrote prolifically about non-Hollywood film (chiefly foreign cinema and avant-garde film) and returned only to Hollywood movies to point out that the sexual subtexts he had revealed had come to the surface, rather blatantly. The same period revealed a growing awareness that these critics had been pioneers in arts journalism, and that the new trends owed a great deal to them.
Colette Gaiter (ed.)
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781526117465
- eISBN:
- 9781526150486
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526117472.00010
- Subject:
- Art, Art History
Colette Gaiter’s chapter looks at the work of the American artist Emory Douglas, the Minister of Culture for the Black Panther party, which at the time was subscribing to a political tendency known ...
More
Colette Gaiter’s chapter looks at the work of the American artist Emory Douglas, the Minister of Culture for the Black Panther party, which at the time was subscribing to a political tendency known as ‘intercommunalism’. More expansive than other strands of leftist thought, intercommunalism sought to unite countries of the world in resistance to global capitalism and imperialism. A wave of ‘Black Maoism’ swept through black liberation movements at this time and came to visual life in Emory Douglas’s work on the Black Panther newspaper.Less
Colette Gaiter’s chapter looks at the work of the American artist Emory Douglas, the Minister of Culture for the Black Panther party, which at the time was subscribing to a political tendency known as ‘intercommunalism’. More expansive than other strands of leftist thought, intercommunalism sought to unite countries of the world in resistance to global capitalism and imperialism. A wave of ‘Black Maoism’ swept through black liberation movements at this time and came to visual life in Emory Douglas’s work on the Black Panther newspaper.
Lauren Graber and Daniel Spaulding (eds)
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781526117465
- eISBN:
- 9781526150486
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526117472.00011
- Subject:
- Art, Art History
Lauren Graber and Daniel Spaulding’s joint contribution, ‘The Red Flag: the art and politics of West German Maoism’, maps artistic Maoism in West Germany from the late 1960s to the early 1970s, tying ...
More
Lauren Graber and Daniel Spaulding’s joint contribution, ‘The Red Flag: the art and politics of West German Maoism’, maps artistic Maoism in West Germany from the late 1960s to the early 1970s, tying it to both the student movement and the extra-parliamentary opposition. Looking at a broad sample of artists, the authors demonstrate how the image of Mao and the politics for which it stood became contested terrain where the complex dialectic of Pop art and revolution was played out in perhaps its most spectacular form.Less
Lauren Graber and Daniel Spaulding’s joint contribution, ‘The Red Flag: the art and politics of West German Maoism’, maps artistic Maoism in West Germany from the late 1960s to the early 1970s, tying it to both the student movement and the extra-parliamentary opposition. Looking at a broad sample of artists, the authors demonstrate how the image of Mao and the politics for which it stood became contested terrain where the complex dialectic of Pop art and revolution was played out in perhaps its most spectacular form.
Victoria H. F. Scott (ed.)
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781526117465
- eISBN:
- 9781526150486
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7765/9781526117472.00022
- Subject:
- Art, Art History
Postmodernism is usually framed as a Western movement, with theoretical and philosophical roots in Europe. Victoria H. F. Scott’s chapter links artistic postmodernism to the influence of Maoism in ...
More
Postmodernism is usually framed as a Western movement, with theoretical and philosophical roots in Europe. Victoria H. F. Scott’s chapter links artistic postmodernism to the influence of Maoism in the West, specifically through the dissemination and absorption of the content and form of Maoist propaganda. Taking into consideration the broad significance of Mao for art and culture in the West in the second half of the twentieth century, the chapter comes to terms with the material effects of a global propaganda movement which, combined with the remains of a personality cult, currently transcends the traditional political categories of the Left and the Right.Less
Postmodernism is usually framed as a Western movement, with theoretical and philosophical roots in Europe. Victoria H. F. Scott’s chapter links artistic postmodernism to the influence of Maoism in the West, specifically through the dissemination and absorption of the content and form of Maoist propaganda. Taking into consideration the broad significance of Mao for art and culture in the West in the second half of the twentieth century, the chapter comes to terms with the material effects of a global propaganda movement which, combined with the remains of a personality cult, currently transcends the traditional political categories of the Left and the Right.
John Hughson
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780719096150
- eISBN:
- 9781526115331
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719096150.003.0006
- Subject:
- Sociology, Sport and Leisure
This chapter examines the occurrence of the1966 World Cup in England against the cultural mood, or perceptions of the cultural mood, of the mid-1960s. This involves consideration of the stereotype of ...
More
This chapter examines the occurrence of the1966 World Cup in England against the cultural mood, or perceptions of the cultural mood, of the mid-1960s. This involves consideration of the stereotype of the ‘swinging ‘60s’ and ‘swinging’ London. While these stereotypes are challenged the period was undeniably one of cultural change and England, certainly London, was regarded as a desirable international destination. The World Cup is examined within the popular culture context of this period and the non-football creativity, directly sponsored by the World Cup as a cultural and commercial occasion, is addressed. In this regard, items including posters, stamps, and the tournament’s mascot, World Cup Willie, are discussed. So too is the official film of the World Cup, Goal! In differing ways each these items offered something distinct, leaving a unique cultural legacy from the 1966 World Cup.Less
This chapter examines the occurrence of the1966 World Cup in England against the cultural mood, or perceptions of the cultural mood, of the mid-1960s. This involves consideration of the stereotype of the ‘swinging ‘60s’ and ‘swinging’ London. While these stereotypes are challenged the period was undeniably one of cultural change and England, certainly London, was regarded as a desirable international destination. The World Cup is examined within the popular culture context of this period and the non-football creativity, directly sponsored by the World Cup as a cultural and commercial occasion, is addressed. In this regard, items including posters, stamps, and the tournament’s mascot, World Cup Willie, are discussed. So too is the official film of the World Cup, Goal! In differing ways each these items offered something distinct, leaving a unique cultural legacy from the 1966 World Cup.
Patrick Frank
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780813062228
- eISBN:
- 9780813051710
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062228.003.0006
- Subject:
- Society and Culture, Latin American Studies
In chapter 5, Frank traces the spread of Nueva Figuración’s international renown, discussing the artists’ growing number of group shows and related reviews in U.S. and European magazines. Comparing ...
More
In chapter 5, Frank traces the spread of Nueva Figuración’s international renown, discussing the artists’ growing number of group shows and related reviews in U.S. and European magazines. Comparing it to the postmodern treatise The Anti-Aesthetic by Hal Foster, Frank examines Noé’s Antiestética, a theoretical text in which he extolled chaos as a value in art and announces his views on other dominant movements of the day such as Pop Art. Frank closes on the dissolution of Nueva Figuración: with the art scene in Argentina trending toward Pop and related styles and with Marta Minujín staging “Happenings” and proclaiming that painting was dead, the New Figurationists had one final group show in Buenos Aires and then went their separate ways.Less
In chapter 5, Frank traces the spread of Nueva Figuración’s international renown, discussing the artists’ growing number of group shows and related reviews in U.S. and European magazines. Comparing it to the postmodern treatise The Anti-Aesthetic by Hal Foster, Frank examines Noé’s Antiestética, a theoretical text in which he extolled chaos as a value in art and announces his views on other dominant movements of the day such as Pop Art. Frank closes on the dissolution of Nueva Figuración: with the art scene in Argentina trending toward Pop and related styles and with Marta Minujín staging “Happenings” and proclaiming that painting was dead, the New Figurationists had one final group show in Buenos Aires and then went their separate ways.
Cathy Curtis
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780190498474
- eISBN:
- 9780190498504
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190498474.003.0007
- Subject:
- History, Cultural History, American History: 20th Century
During the 1960s, Elaine lived in a succession of New York lofts, where she painted, wrote, and entertained large groups of friends—including artists, writers, and athletes. She became caught up in ...
More
During the 1960s, Elaine lived in a succession of New York lofts, where she painted, wrote, and entertained large groups of friends—including artists, writers, and athletes. She became caught up in the Death Row case of Caryl Chessman, one of several causes she vigorously pursued. Feminism was not among them. She was equally hostile to Pop Art, scorning it as simply “a way of making money.” The mid-sixties were a troubled time for Elaine: her mother died; Bill tried to divorce her. Her drinking escalated, leading to several car accidents and embarrassing scenes. (She stopped drinking in the mid-seventies.) Elaine spent summers in Paris as a teacher at the New York Studio School, bringing a family member or student along for city excursions. A Jules Dalou sculpture in the Jardin du Luxembourg prompted her Bacchus painting series, which captured the play of dappled light and foliage on the bronze figures.Less
During the 1960s, Elaine lived in a succession of New York lofts, where she painted, wrote, and entertained large groups of friends—including artists, writers, and athletes. She became caught up in the Death Row case of Caryl Chessman, one of several causes she vigorously pursued. Feminism was not among them. She was equally hostile to Pop Art, scorning it as simply “a way of making money.” The mid-sixties were a troubled time for Elaine: her mother died; Bill tried to divorce her. Her drinking escalated, leading to several car accidents and embarrassing scenes. (She stopped drinking in the mid-seventies.) Elaine spent summers in Paris as a teacher at the New York Studio School, bringing a family member or student along for city excursions. A Jules Dalou sculpture in the Jardin du Luxembourg prompted her Bacchus painting series, which captured the play of dappled light and foliage on the bronze figures.
- Published in print:
- 2012
- Published Online:
- June 2013
- ISBN:
- 9781846316456
- eISBN:
- 9781846316708
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846316456.003.0001
- Subject:
- Society and Culture, Cultural Studies
Lawrence Alloway (1926–1990) can be considered one of the founders of contemporary cultural ideals. One of the most esteemed art critics of the post-war years, Alloway was significantly involved with ...
More
Lawrence Alloway (1926–1990) can be considered one of the founders of contemporary cultural ideals. One of the most esteemed art critics of the post-war years, Alloway was significantly involved with both the Independent Group and the Place and Situation painters in London during the 1950s. At the beginning of the 1960s, he moved to New York, where he became a leading interpreter of Pop art, ‘systemic’ abstraction, and the realist revival as well as women's art. He wrote more than 800 texts ranging from books to reviews and catalogues essays and displayed wholehearted commitment to pluralism and diversity in both art and society. In post-war London, Alloway witnessed an art scene that was impoverished but received a boost from the newly elected Socialist government's emphasis on culture. Art News and Review, a magazine launched by Richard Gainsborough in 1949, proved invaluable to Alloway as an aspiring art critic in the post-war years in London.Less
Lawrence Alloway (1926–1990) can be considered one of the founders of contemporary cultural ideals. One of the most esteemed art critics of the post-war years, Alloway was significantly involved with both the Independent Group and the Place and Situation painters in London during the 1950s. At the beginning of the 1960s, he moved to New York, where he became a leading interpreter of Pop art, ‘systemic’ abstraction, and the realist revival as well as women's art. He wrote more than 800 texts ranging from books to reviews and catalogues essays and displayed wholehearted commitment to pluralism and diversity in both art and society. In post-war London, Alloway witnessed an art scene that was impoverished but received a boost from the newly elected Socialist government's emphasis on culture. Art News and Review, a magazine launched by Richard Gainsborough in 1949, proved invaluable to Alloway as an aspiring art critic in the post-war years in London.
- Published in print:
- 2012
- Published Online:
- June 2013
- ISBN:
- 9781846316456
- eISBN:
- 9781846316708
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846316456.003.0002
- Subject:
- Society and Culture, Cultural Studies
Lawrence Alloway's scope as an art critic became international in 1950, but his criticism only changed significantly the following year after a review of a Roberto Matta exhibition at the Institute ...
More
Lawrence Alloway's scope as an art critic became international in 1950, but his criticism only changed significantly the following year after a review of a Roberto Matta exhibition at the Institute of Contemporary Arts (ICA). This review marked Alloway's transition from connoisseurship and simple evaluation to a far more dense and demanding art criticism. This section focuses on Alloway's life as an art critic in the period 1952–1961. It provides an overview of ICA in the early 1950s and its Independent Group, Alloway's attitudes toward abstraction and figurative art, his cultural continuum model, his views on graphics and advertising, art autre, Alloway's first trip to the United States, and the emergence of Pop art.Less
Lawrence Alloway's scope as an art critic became international in 1950, but his criticism only changed significantly the following year after a review of a Roberto Matta exhibition at the Institute of Contemporary Arts (ICA). This review marked Alloway's transition from connoisseurship and simple evaluation to a far more dense and demanding art criticism. This section focuses on Alloway's life as an art critic in the period 1952–1961. It provides an overview of ICA in the early 1950s and its Independent Group, Alloway's attitudes toward abstraction and figurative art, his cultural continuum model, his views on graphics and advertising, art autre, Alloway's first trip to the United States, and the emergence of Pop art.
- Published in print:
- 2012
- Published Online:
- June 2013
- ISBN:
- 9781846316456
- eISBN:
- 9781846316708
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781846316456.003.0003
- Subject:
- Society and Culture, Cultural Studies
This section focuses on Lawrence Alloway's life as an art critic in the period 1961–1971, beginning with his travel to the United States in 1961 and his dispute with Clement Greenberg with regards to ...
More
This section focuses on Lawrence Alloway's life as an art critic in the period 1961–1971, beginning with his travel to the United States in 1961 and his dispute with Clement Greenberg with regards to art criticism, particularly of junk art. It also considers Alloway's writings on American Pop art, the mounting of the exhibition Six Painters and the Object and Six More in 1963, Alloway's relationship with Alexander Liberman and Paul Feeley, his views on abstraction and iconography as well as newness and avant-garde art, his reviews of a number of films and his pluralism.Less
This section focuses on Lawrence Alloway's life as an art critic in the period 1961–1971, beginning with his travel to the United States in 1961 and his dispute with Clement Greenberg with regards to art criticism, particularly of junk art. It also considers Alloway's writings on American Pop art, the mounting of the exhibition Six Painters and the Object and Six More in 1963, Alloway's relationship with Alexander Liberman and Paul Feeley, his views on abstraction and iconography as well as newness and avant-garde art, his reviews of a number of films and his pluralism.
Jesse Berrett
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780252041709
- eISBN:
- 9780252050374
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041709.003.0002
- Subject:
- Sociology, Sport and Leisure
This chapter explores how official National Football League publications encouraged and attempted to manage a range of interpretations of professional football. These books set out a playing field ...
More
This chapter explores how official National Football League publications encouraged and attempted to manage a range of interpretations of professional football. These books set out a playing field and opened it for discussion. Even as liberal social observers worried about pro football’s rising appeal, conservatives celebrated its meritocratic traditionalism, radicals found it terrifying, and journalists increasingly made fun of its pretentions to gravitas, David Boss’s books conveyed the broad notion that football mattered in the broader culture and was worthy of serious intellectual consideration. Without centering on a particular meaning, they emphasized the idea that football mattered in the wider culture.Less
This chapter explores how official National Football League publications encouraged and attempted to manage a range of interpretations of professional football. These books set out a playing field and opened it for discussion. Even as liberal social observers worried about pro football’s rising appeal, conservatives celebrated its meritocratic traditionalism, radicals found it terrifying, and journalists increasingly made fun of its pretentions to gravitas, David Boss’s books conveyed the broad notion that football mattered in the broader culture and was worthy of serious intellectual consideration. Without centering on a particular meaning, they emphasized the idea that football mattered in the wider culture.
Edward P. Comentale
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037399
- eISBN:
- 9780252094576
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037399.003.0006
- Subject:
- Music, History, American
This chapter concerns the formal silence that pervades pop music in the late modern era, which both allows for greater experimentation in music and preserves, in the face of complete commercial ...
More
This chapter concerns the formal silence that pervades pop music in the late modern era, which both allows for greater experimentation in music and preserves, in the face of complete commercial appropriation, the utopian possibility of some more subtle form of engagement with modernity. It argues that Buddy Holly's music represents the moment when popular music became “pop music,” and moreover that both John Cage and Holly pursued silence to the point of freeing song (and specifically lyrical song) from the expressive demands of identity and tradition. The chapter then draws from Jacques Derrida's Speech and Phenomena to show that Holly's vocals work via a process of “indication” rather than “expression” and thus point toward the very world that they fail to name or include. Finally, this chapter links Holly's music—and pop music in general—to the Pop Art movement of the late 1950s and early 1960s.Less
This chapter concerns the formal silence that pervades pop music in the late modern era, which both allows for greater experimentation in music and preserves, in the face of complete commercial appropriation, the utopian possibility of some more subtle form of engagement with modernity. It argues that Buddy Holly's music represents the moment when popular music became “pop music,” and moreover that both John Cage and Holly pursued silence to the point of freeing song (and specifically lyrical song) from the expressive demands of identity and tradition. The chapter then draws from Jacques Derrida's Speech and Phenomena to show that Holly's vocals work via a process of “indication” rather than “expression” and thus point toward the very world that they fail to name or include. Finally, this chapter links Holly's music—and pop music in general—to the Pop Art movement of the late 1950s and early 1960s.
Stephen Monteiro
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9781474403375
- eISBN:
- 9781474421881
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403375.003.0003
- Subject:
- Film, Television and Radio, Film
In his prodigious output of hundreds of films throughout the 1960s, Pop artist Andy Warhol cultivated an approach to making and viewing movies that borrowed heavily on the conventions of family ...
More
In his prodigious output of hundreds of films throughout the 1960s, Pop artist Andy Warhol cultivated an approach to making and viewing movies that borrowed heavily on the conventions of family home-movie culture. Warhol’s Factory studio in New York and his entourage of so-called “Superstars” functioned much like a family of misfits. This chapter explores film’s role in this context, analysing how Warhol combined improvised scenarios with personality differences to forge or reinforce intimate relations through filmmaking. It argues that his tendency to screen these films in the Factory—often before the people who appear on screen—functioned as a means of identifying, describing, and securing a nucleus of close social relations. Through comparison with the rhetoric of home-movie advertising and guidebooks, it teases out ways Warhol’s films paradoxically became avant-garde distortions of home-movie practices through strict adherence to suggestions and tips given to home-movie practitioners.Less
In his prodigious output of hundreds of films throughout the 1960s, Pop artist Andy Warhol cultivated an approach to making and viewing movies that borrowed heavily on the conventions of family home-movie culture. Warhol’s Factory studio in New York and his entourage of so-called “Superstars” functioned much like a family of misfits. This chapter explores film’s role in this context, analysing how Warhol combined improvised scenarios with personality differences to forge or reinforce intimate relations through filmmaking. It argues that his tendency to screen these films in the Factory—often before the people who appear on screen—functioned as a means of identifying, describing, and securing a nucleus of close social relations. Through comparison with the rhetoric of home-movie advertising and guidebooks, it teases out ways Warhol’s films paradoxically became avant-garde distortions of home-movie practices through strict adherence to suggestions and tips given to home-movie practitioners.
Michael Kelly
- Published in print:
- 2012
- Published Online:
- November 2015
- ISBN:
- 9780231152921
- eISBN:
- 9780231526784
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231152921.003.0001
- Subject:
- Philosophy, Aesthetics
This chapter examines the nascent collaboration between aesthetics and contemporary art by focusing on the critical reception of the emergence of American Pop art in the early 1960s by four ...
More
This chapter examines the nascent collaboration between aesthetics and contemporary art by focusing on the critical reception of the emergence of American Pop art in the early 1960s by four philosophers: Susan Sontag, Stanley Cavell, Arthur C. Danto, and Umberto Eco. In particular, it considers the influence of these philosophers on aesthetics—what it calls the Pop Effect. Sontag, Cavell, Danto, and Eco all realized that Pop was a development within art that aesthetic theory at the time could not understand or explain because most aestheticians had not yet fully appreciated the philosophical significance of the history of modernism and were thus ill-prepared to comprehend 1960s art. To analyze the collaboration between aesthetics and contemporary art in the 1960s, the chapter looks at Thomas Crow's book The Rise of the Sixties: American and European Art in the Era of Dissent. It also discusses the ethics and politics of Pop in relation to its aesthetics.Less
This chapter examines the nascent collaboration between aesthetics and contemporary art by focusing on the critical reception of the emergence of American Pop art in the early 1960s by four philosophers: Susan Sontag, Stanley Cavell, Arthur C. Danto, and Umberto Eco. In particular, it considers the influence of these philosophers on aesthetics—what it calls the Pop Effect. Sontag, Cavell, Danto, and Eco all realized that Pop was a development within art that aesthetic theory at the time could not understand or explain because most aestheticians had not yet fully appreciated the philosophical significance of the history of modernism and were thus ill-prepared to comprehend 1960s art. To analyze the collaboration between aesthetics and contemporary art in the 1960s, the chapter looks at Thomas Crow's book The Rise of the Sixties: American and European Art in the Era of Dissent. It also discusses the ethics and politics of Pop in relation to its aesthetics.
Dong-Yeon Koh
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617038099
- eISBN:
- 9781621039594
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617038099.003.0011
- Subject:
- Literature, Comics Studies
This chapter examines the historical context in which Japanese animation was imported into Korea during the 1970s and 1980s, focusing on Astro Boy (2009), the Hollywood remake of Tezuka Osamu’s ...
More
This chapter examines the historical context in which Japanese animation was imported into Korea during the 1970s and 1980s, focusing on Astro Boy (2009), the Hollywood remake of Tezuka Osamu’s classic Mighty Atom (Tetsuwan Atomu), and Mazinger Z. It looks at the popularity of Mighty Atom in postwar Japan and Korea, and how it symbolized an optimistic vision of science and technology. The chapter considers the proliferation of toys and merchandise based on the Astro Boy character, and the role played by Japanese animation in Korean society, particularly during the period of Korea’s intensive industrialization and modernization. Furthermore, it analyzes the cultural and historic significance of the iconic images of Japanese animation among the generation of artists who were brought up with postwar Japanese popular culture. Finally, the chapter discusses how images of Astro Boy and Mazinger Z were appropriated by contemporary Korean artists, giving rise to the so-called Korean pop art.Less
This chapter examines the historical context in which Japanese animation was imported into Korea during the 1970s and 1980s, focusing on Astro Boy (2009), the Hollywood remake of Tezuka Osamu’s classic Mighty Atom (Tetsuwan Atomu), and Mazinger Z. It looks at the popularity of Mighty Atom in postwar Japan and Korea, and how it symbolized an optimistic vision of science and technology. The chapter considers the proliferation of toys and merchandise based on the Astro Boy character, and the role played by Japanese animation in Korean society, particularly during the period of Korea’s intensive industrialization and modernization. Furthermore, it analyzes the cultural and historic significance of the iconic images of Japanese animation among the generation of artists who were brought up with postwar Japanese popular culture. Finally, the chapter discusses how images of Astro Boy and Mazinger Z were appropriated by contemporary Korean artists, giving rise to the so-called Korean pop art.
- Published in print:
- 2000
- Published Online:
- June 2013
- ISBN:
- 9780853239949
- eISBN:
- 9781846313301
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853239949.003.0007
- Subject:
- Literature, Poetry
This chapter argues that in Frank O'Hara's hyperscapes, text and image, poetry and painting, and representation and abstraction do not simply coexist but also cross over or ‘cross-dress’, and applies ...
More
This chapter argues that in Frank O'Hara's hyperscapes, text and image, poetry and painting, and representation and abstraction do not simply coexist but also cross over or ‘cross-dress’, and applies the idea of semiotic exchange (whereby text becomes image, image, text) to O'Hara's poetry and collaborations. It contextualises this analysis by demonstrating how O'Hara's poetry uniquely interfaces with the semiotic, semantic, and ideological elements of two highly contrasting contemporaneous art movements: Abstract Expressionism and Pop Art.Less
This chapter argues that in Frank O'Hara's hyperscapes, text and image, poetry and painting, and representation and abstraction do not simply coexist but also cross over or ‘cross-dress’, and applies the idea of semiotic exchange (whereby text becomes image, image, text) to O'Hara's poetry and collaborations. It contextualises this analysis by demonstrating how O'Hara's poetry uniquely interfaces with the semiotic, semantic, and ideological elements of two highly contrasting contemporaneous art movements: Abstract Expressionism and Pop Art.
Yasmine Shamma
- Published in print:
- 2018
- Published Online:
- October 2018
- ISBN:
- 9780198808725
- eISBN:
- 9780191846458
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198808725.003.0003
- Subject:
- Literature, American, 20th Century Literature
Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary ...
More
Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary poetry involved in an overlooked dialogue with collage art? This chapter suggests a general tendency towards assembly across the disciplines of text and image which govern both first- and second-generation New York School aesthetics. This chapter showcases how Brainard’s work instigates and propels the collaged poetry of The New York Schools from the real and influential side-lines of their poems? This examination of Brainard’s work argues that though his work sat in the margins of New York School poetry, it informingly lined, bound, and shaped the spatial poetics of this avant-garde American school.Less
Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary poetry involved in an overlooked dialogue with collage art? This chapter suggests a general tendency towards assembly across the disciplines of text and image which govern both first- and second-generation New York School aesthetics. This chapter showcases how Brainard’s work instigates and propels the collaged poetry of The New York Schools from the real and influential side-lines of their poems? This examination of Brainard’s work argues that though his work sat in the margins of New York School poetry, it informingly lined, bound, and shaped the spatial poetics of this avant-garde American school.