Art for the Consumer Bibliography
Annotated Bibliography
Barnes, Julian. "Good Soft Fun." Modern Painters 8.(1995): 12-15. Art Full Text (H.W. Wilson). Web. 11 Oct. 2015.
The inherent paradoxical nature of Claes Oldenburg’s sculptural works and pop art in general are discussed in this kind-yet-acidic article. The chiding review of Oldenburg’s soft sculptures mentions that his original manifesto called for art that “does something other than sit on its ass in a museum,” which leaves his reclining, displayed soft sculptures with ironic intent. Barnes also touches on the lasting effectiveness of pop art’s spectacle.
Bergin, Paul. "Andy Warhol: The Artist as Machine." Art Journal 26.4 (1967): 359-63. JSTOR. Web. 09 Oct. 2015.
This article looks at the machine qualities of Andy Warhol and his work. Bergin writes on Warhol’s use of screen-printing and how Warhol’s studio was really more of an art factory. The article examines Warhol’s exclusive and private nature and his willingness to become a commodity. The article looks at the themes used in Warhol’s works and how the artist painted an image without seeing the original identity of the object and without reflecting on the idea. Indeed, Warhol painted a surface image, a public appearance, and nothing more.
Foster, Hal. “Just what was it…? Hal Foster on the art of Richard Hamilton (1922- 2011).”Artforum International 50.5 (2012): 182. Academic ASAP. Web. 11 Oct. 2015.
In his article, Foster recounts Hamilton’s famous definition of what Pop Art is and should be. He asserts that Hamilton did more for Pop Art than any other artist of his time in his famous collage, Just what is it that makes today’s homes so different, so appealing? Foster continues to discuss Hamilton’s goal of merging consumption and fine art, and whether or nit it is possible to achieve.
Geldzahler, Henry. "Happenings: Theater by Painters." The Hudson Review 18.4 (1965-1966): 581-86. JSTOR. Web. 12 Oct. 2015.
This article describes the 1960s performance art pieces known as Happenings, which were practiced by pop artists like Jim Dine, Claes Oldenburg, and others. The article does a good job of capturing the atmosphere in which Happenings took place: energetic and thoughtful. Claes Oldenburg features in an interview about the methods he uses in making Happenings happen. The postmodern sensibilities of the pop artists informed the intent of their performances. They aimed to break the audience away from their preconceived notions of theater and shake them into action.
Hunter, Sam. “Remembering Tom Wesselmann (1931–2004): And His Alter Ego, Slim
Stealingworth.” American Art 19.2 (2005): 108-11. JSTOR. Web. 10 Oct. 2015.
This article, although relatively short, gives an insight into the life of Tom Wesselmann and his place within pop art and art history. The title of the article refers to a biography Wesslemann wrote about himself under the false name Slim Stealingworth. Hunter gives an overview of Wesselmann’s artistic career including his collages and his paintings, and his varying subjects. The author also includes segments from an interview he conducted himself with the artist.
Kuspit, Donald B. "Pop Art: A Reactionary Realism." Art Journal 36.1 (1976): 31-38. JSTOR. Web. 09 Oct. 2015.
This article takes a look at the realistic and reactionary aspects of Pop Art. Kuspit argues that Pop Art is reactionary because it celebrates and fetishizes American society’s self image in its media and makes it glamorous. Kuspit compares popular culture with the fine arts and finds them essentially the same before continuing on to compare Pop Art with Marketing and propaganda. The article discusses the artists’ subjects and motivations, suggesting that Pop Art deals with illusions and that the artists are indifferent to the subject that they enshrine in a magnificent image. This is especially clear in an included quote from Roy Lichtenstein where he writes, “The world is outside. Pop art looks at it and accepts this environment, which is neither good nor bad…”
Lobel, Michael. “Image Duplicator: Roy Lichtenstein And The Emergence Of Pop Art.” The Virginia Quarterly Review 4 (2002): 139. Academic OneFile. Web. 12 Oct. 2015.
Lobel argues that although Lichtenstein was considered among the most impersonal artists in the Pop Art movement, it is the impersonality and detachment in his works that make them successful in their goals. Going beyond the surface of the commercial qualities of the paintings, Lobel recognizes the often serious, emotional themes explores in Lichtenstein’s paintings. Through doing this, he makes the connection that Lichtenstein was redefining classical art and painting.
McCarthy, David. “Tom Wesselmann and the Americanization of the Nude, 1961-1963.”
Smithsonian Studies in American Art 4.1 (1990): 102-27. JSTOR. Web. 10 Oct. 2015.
This article focuses on Tom Wesselmann’s series “The Great American Nude” which spanned over ten years of Wesselmann’s career and eventually came to consists of more than one hundred paintings. The author covers selected paintings that are representative of the changing interpretations of the “Americanized Nude” Wesselmann presents as he advances through the series. The article includes the most landmark paintings within the series accompanied by analysis. McCarthy comments on the factors that influence Wesselmann’s paintings and what elements in each work harkens back to these influential pieces such as Manet’s Olympia or the centerfolds of Playboy.
http://www.jstor.org.ezproxy.net.ucf.edu/stable/pdf/3109018.pdf?acceptTC=true
Potts, Alex. "The Image Valued 'As Found' and the Reconfiguring of Mimesis in Post-War Art." Art History 37.266 (2014): 27-31. Humanities Full Text. Web. 7 Oct. 2015. <http://eds.a.ebscohost.com/eds/pdfviewer/pdfviewer?sid=2589062d-5c27-4f60-891a-a805e150ffdd@sessionmgr4002&vid=1&hid=4105>.
This journal describes in detail the “novelty” of Pop Art that took hold of the art world in the post-war ear. The journal juxtaposes the concept of traditional mimesis and the new concept introduced by Pop Art, drawing distinctions and clarifying that Pop Art was not meant to transform the artist’s work, but rather, to display it under a new light. The author further elaborates by breaking down Andy Warhol’s work with Marilyn Monroe and how, despite the use of prefabricated elements, Pop Art was equal in comparison to other movements.
Whiting, Cécile. “David Hockney: A Taste for Los Angeles.” Art History 34.4 (2011): 858-74. Academic Search Premier. Web. 10 Oct. 2015.
This article discusses David Hockney and his relationship to the Los Angeles area. Although Hockney was originally from England, many of his works are more closely related to the Southern California region. This article gives a short biography about Hockney and explains that he kept a home in Los Angeles. The author goes on to analyze the many works Hockney created throughout his career that center on the Californian landscape, architecture, and culture. Whiting further questions if Hockney should be classified as an English or American artist based on his birthplace or his subject matter.