minimalism: the art work enters the real world even as it maintains its difference; the art work challenges space and the spectator and denies the

presence of inner content

Pop art: real life enters the art work; the art work enters real lifea confusion of reality and illusion/fantasy

Abstract Expressionism: the art work becomes an environment; thepresence of the artist is central as the artist "lives" in the process of making the

art work

From Modernism to Post-Modernism

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Postmodern and Pop.prs

Rosenquist: President Elect, 1960 (oil on fiberboard, 84 x 146")

Richard Hamilton: Just what is it about today's homes that makes

them so appealing? (1956)

E. Paolozzi: I Was a Rich Man's Plaything, 1947

Neo-Dada of the Sixties?

The Pop Art Tendency

A postmodern paradigm:

art as a commitment to the unknowable or uncertainty

inconstancy of form-->formlessness:confusion of boundaries of media, of real and unreal,

of the original and the copy the disguised or fragmented human body

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Postmodern and Pop.prs

Robert Venturi and Denise Scott Brown:Learning from Las Vegas, or is there such a thing as Pop Architecture?

Smoker #9, 1973 (83 x 89"; oil on canvas)

Great American Nude #28, 1962 (48 x 66")

Great American Nude #6, 1961 (48 x 48")

Bathtub Collage #3, 1963 (84 x 106 x 20")

Still Life #31, 1963 (oil, collage, working t.v., 48 x 60"

Wesselmann: Still Life #20, 1962 (collage, assemblage, wood, bulb, sink, 46 x 48")

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Postmodern and Pop.prs

Warhol: Popeye, 1960

Roy Lichtenstein: Hopeless, 1963

Dick Tracy, 1960 (casein, crayon, canvas)

Andy Warhol and Roy Lichtenstein: Denial of the self in the name of

mechanical reproduction?

Goofy's Gas in Mickey's Toontown, 1993

Michael Graves: Team Disney Building, Burbank, 1990

Robert Venturi and Denise Scott-Brown: Guild House (in Philadelphia), 1960-63

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Postmodern and Pop.prs

Do-It-Yourself (Flowers), 1962 (synthetic polymer and prestype on

canvas, 69 x 59")

Eddie diptych (two panels, 44 x

52")

Takka Takka, 1962 (magnum on canvas, 68

x 48")

Lichtenstein's Hopeless and the original source (comic by Tony

Abruzzo, Secret Hearts

Telephone, 1963; (below): ad for Bell Telephone, from

1928

Before and After (1960-1; version one -left; version 2, right-- synthetic polymer and silkscreen ink on canvas)

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Postmodern and Pop.prs

Vacation Get-Away

"Giacometti" on the left; untitled on the right

the "dis"illusionment of Martha Rosler: Bringing the War Home: The House Beautiful Series (1965-72;

original montages - reprinted in color in 1991)

Orange Disaster, 1963 (110 x 82")

Marilyn diptych, 1962; silkscreen ink, synthetic polymer on canvas, 82x114"

100 Soup Cans, 1962 (82 x 52")

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Postmodern and Pop.prs