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Artist Warhol was a Catholic, &
also a part of the first American generation to grow up with TV.
Before becoming an artist, he worked in advertising and design illustration.
He was fascinated by fame, fortune and celebrity.
He understood mass media and Consumerism and used them as both a subject and means of marketing his art.
Artwork
For Art promoters, Warhol was an artist with a highly public profile; He manipulated the media to create a cult figure status
For dealers, curators, critics and historian audiences he was a significant pioneer.
For art audiences he was a major figure in the artworld
He was considered one of the most influential artists of the second half of the 20th century.
For the public audience, he
was an idolised celebrity
figure, friends with the rich
& famous.
Pop art was a response to the elitism and ambiguity of Abstract Expressionism in the USA after WWII, 1950s and 1960s.
It was based on popular culture, mass media and consumerism
Pop art was a world of television, movies, comics, advertising and mass production.
It was a world of increasing celebrity worship where film stars and the rich and the famous were idolised.
This was also the world of the cultural revolution where race and gender equality were fought for,
“It's the movies that have been
running things in America ever
since they were invented. They show
you what to do, how to do it, when
to do it, how to feel about it, and
how to look how you feel about
it.” - Andy Warhol.
Audience
World
Warhol’s Gold Marilyn Monroe
reflects the ever present
celebrity imagery of Pop.
The central image on a gold
background is reminiscent of
religious icons, reflecting
society’s obsession with
celebrity worship.
The spiritual reference was
especially poignant given
Monroe’s suicide a few months
earlier.
Warhol’s sloppy silk-screening
symbolically places her
alongside other mass-marketed
commodities like a can of soup.
Andy Warhol. Handout P1
Assessment Task: weighting 20%;
With reference to the Artist’s quotes by Warhol & Koon, and using the outlined aspects of
the conceptual framework provided for each Artist, plus the Artwork examples, examine
how Artists represent ideas & opinions about the world of Popular Culture in their Art.
In your answer;
present a well-reasoned and informed point of view
apply your understandings of the different aspects of the Frames and Conceptual Framework as appropriate
Use 2 A4 pages HANDWRITTEN for your response.
Koons is an artist with a highly public profile; He utilizes the internet and digital media to cultivate a global celebrity status.
Curators, critics and historian audiences consider him a significant Artist, tough controversy often surround his work.
For art audiences he is a major figure in the artworld
For the public audience, he is associated
with celebrities and Pop Culture, friends
with the rich & famous.
Lady Gaga sculpture - Jeff Koons
2013 Plaster & painted Glass
The world of Jeff Koons is a place that is fuelled by the economy of a culture of
excess, that’s obsessed with image.
Advertising and self-promotion are the keys to achieving celebrity status.
Fame and fortune are to be embraced and the glittering spectacle that surrounds them is perpetually covered by a world saturated in digital media
The internet has made Pop Culture into a global commodity
“I believe in advertisement and media
completely. My art and my personal life
are based in it. The art world would
probably be a tremendous reservoir for
everybody involved in advertising.” -
Jeff Koons
Jeff Koons
World
Artist Jeff Koons was born into a working
class family, and grew up in a time of
exponential technological advancement
Before becoming an artist he worked in
advertising.
He moves in social circles f the rich and
famous
He understands the business of self-
promotion and knows how to generate
income from his art
Audience
Koons’ depiction of Gaga uses imagery
from classical Greek statues and Botticelli’s The Birth of Venus to represent Gaga’s goddess-like celebrity status
He uses his own “Gazing Ball” to represent engaging dialogue with others about transcendence
The minimalist makeup & nudity of Gaga
in this piece, contrast with her usually
hyper-styled image, bringing an inviting
vulnerability to the piece.
Artwork
Handout P2
Resources
Pop to Neo Pop
Archive.artgallery.nsw.gov.au,. (2015). Art Gallery of New South Wales - Archive - Pop, neo-pop, post-pop.
Retrieved 19 October 2015, from
http://archive.artgallery.nsw.gov.au/exhibitions/archived/2010/kaldor_projects/themes/pop_neo-
pop_post-pop/
Artgallery.nsw.gov.au,. (2015). Pop to popism :: Art Gallery NSW. Retrieved 19 October 2015, from
http://www.artgallery.nsw.gov.au/exhibitions/pop-to-popism/
Frost, A. (2014). Pop to Popism review – shock and social critique, with an Australian thread. the Guardian.
Retrieved 19 October 2015, from http://www.theguardian.com/artanddesign/australia-culture-
blog/2014/nov/03/pop-to-popism-review-shock-and-social-critique-with-an-australian-thread
Pop Art
Artyfactory.com,. (2015). Pop Art - the art of popular culture. Retrieved 19 October 2015, from
http://www.artyfactory.com/art_appreciation/art_movements/pop_art.htm
Guggenheim.org,. (2015). Collection Online | Browse By Movement | Pop art - Guggenheim Museum. Retrieved
19 October 2015, from http://www.guggenheim.org/new-york/collections/collection-
online/movements/195228
Museum Of Modern Art, NYC,. (2015). MoMA Learning. Retrieved 19 October 2015, from
https://www.moma.org/learn/moma_learning/themes/pop-art
Russell Tether Fine Art,. (2013). Jim Dine: Finding Humanity in Pop. Retrieved 19 October 2015, from
https://russelltetherfineart.wordpress.com/2013/10/04/jim-dine-finding-humanity-in-pop/
WALKER, J. (1991). POP ART: DIFFERENTIAL RESPONSES AND CHANGING PERCEPTIONS. Journal Of Art And Art
Education, no. 26, 9-16.
Neo-Pop Art
Arthistoryarchive.com,. (2015). Neo-Pop Art - The Art History Archive. Retrieved 19 October 2015, from
http://www.arthistoryarchive.com/arthistory/popart/Neo-Pop-Art.html
Bankowsky, J., Wall, J., Gingeras, A., Crow, T., Diedrichsen, D., & Griffin, T. et al. (2004). Pop after Pop: a
roundtable. Artforum International, 43(2), 166.
(Bankowsky et al., 2004)
Lowry, R. (2012). The Warhol Effect, A Timeline. Retrieved 12 October 2015, from
http://www.metmuseum.org/exhibitions/listings/2012/steins-
collect/~/media/Files/Exhibitions/WarholTimeline.pdf
Schjeldahl, P., & Yorker, T. (2014). Selling Points - The New Yorker. The New Yorker. Retrieved 19 October 2015,
from http://www.newyorker.com/magazine/2014/07/07/selling-points