Week 5
September 26, 2006
Nam June Paik, Zen for Head, 1960
Allan Kaprow, Yard, 1961
Allan Kaprow, Words, 1962
Allan Kaprow, 18 Happenings in Six Parts, 1959
and Program for 18 Happenings
Claes Oldenberg, The Street, 1960
Claes Oldenberg, Snapshots from the City, 1960
Claes Oldenberg, The Store, 1961
Claes Oldenberg, Dual Hamburgers, 1962
Claes Oldenberg, Ice Cream Sandwich, 1961
Claes Oldenberg, Floorburger, 1962
Claes Oldenberg, Soft Fur Good Humor, 1963
Claes Oldenberg, Bedroom Ensemble, 1963-64 (two views)
Richard Hamilton, Just What is it that Makes Today's Homes So
Different, So Appealing, 1956
Eduardo Paolozzi, I was a Rich Man's Plaything, 1947
Willem DeKooning, Marilyn Monroe, 1954
Willem DeKooning, Study for Woman, 1950
Richard Hamilton, Homage to the
Chrysler Corp, 1957
Richard Hamilton, $he, 1958-61
Peter Blake, Everly Wall, 1959
Peter Blake, Got a Girl, 1960-61
Tom Wesselman, Little Still Life #4, 1962
Tom Wesselman, Great American Nude, #24, 1962
Tom Wesselman, Still Life #31, 1965
Tom Wesselman, Great American Nude, #44, 1963
James Rosenquist, I Love You with My Ford, 1961
James Rosenquist, A Lot to Like, 1962
James Rosenquist, President Elect, 1960-61
James Rosenquist, Marilyn Monroe I, 1962
James Rosenquist, F-111, 1965
Rosenquist's F-111 installed at the Metropolitan Museum of Art,
1968
Roy Lichtenstein, Blamm, 1962
Roy Lichtenstein, Whaam! 1963
“Star Jockey,” story in DC Comics All American Men of War,
Jan-Feb 1962
Roy Lichtenstein, Drowning Girl, 1963
“Run for Love,” story in DC Comics Secret Hearts, November 1962
Roy Lichtenstein, Big Painting #5, 1965
Roy Lichtenstein, Little Big Painting, 1965
Roy Lichtenstein, OK Hot Shot, I'm Pouring, 1963
Andy Warhol, Dance Diagram- Tango, 1962
Roy Lichtenstein: “Is Pop art is
anti-experimental?” “I think so, and
anti-contemplative, anti-nuance, anti-getting away from the tyranny of
the
rectangle, anti-movement and light, anti-mystery, anti paint quality,
anti-Zen,
and anti all thorse brilliant ideas of preceding movements which
everyone
understands so thoroughly”
Lichtenstein: “Is Pop Art American? Everybody has
called Pop
art American Painting, but it’s actually industrial painting. America was hit by industrialism and
capitalism harder and sooner and its values seem more askew.”
Robert Indiana: “If A-E dies, the abstractionists
will bury
themselves under the weight of their own success and acceptance…their
students
and followers are legion around the world.” …They need birth control”
William Turnbull
“Magazines were an incredible way of randomizing one’s
thinking…food on
one page, pyramids in the desert on the next, a good-looking girl on
the next;
they were like collages.”
Richard Hamilton : "pop art
is popular (designed for a mass audience) transient and expendable…it
is also
young (aimed at youth), witty, sexy, and glamorous…"
"It must have gloss and glamour and evoke a
yearning for possession."
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September 28, 2006
Roy Lichtenstein, Big Painting #5, 1965
Roy Lichtenstein, Little Big Painting, 1965
Willem DeKooning, Parc Rosenberg,
1957
Franz Kline, Delaware Gap,
1958
Alfred Leslie, Big Green, 1957
Joan Mitchell, Casino, 1956
Roy Lichtenstein, OK Hot Shot, I'm Pouring, 1963
Andy Warhol, Dance Diagram-Tango, 1962
Andy Warhol, Zsa-Zsa Gabor Shoe,
1956
Andy Warhol, Lady on a Rooster,
1957
Andy Warhol, $199 TV, 1960
Andy Warhol, Peach Halves,
1960
Andy Warhol, Do It Yourself (Landscape), 1962
Andy Warhol, Do It Yourself (Sailboats), 1962
Andy Warhol, Campbell's Soup Cans, 1962
Andy Warhol, Green Coca Cola Bottles, 1962
Andy Warhol, 100 Campbell's Soup Cans,
1962
Andy Warhol, 210 Coca Cola Bottles, 1962
Andy Warhol, Marilyn Monroe Diptych, 1962
Andy Warhol, Marilyn Monroe Lips Diptych, 1962
Andy Warhol, Gold Marilyn, 1962
Andy Warhol, Mona Lisa, 1963
Andy Warhol, Jackie (That Was the
Week That Was), 1963-64
Andy Warhol, Saturday Disaster,
1964
Andy Warhol, Ambulance Disaster, 1963
Andy Warhol, Lavender Disaster, 1963
Andy Warhol, Electric Chairs,
1964
Andy Warhol, Self-Portrait, 1966
Andy Warhol retropective, installation at the Whitney Museum 1971
Warhol at the Factory, 1965
Andy Warhol, installation of Brillo and Heinz boxes at the Stable
Gallery, New York, 1964
Stanley
Kunitz: “No doubt some of you will be even more
depressed than I at the disclosure that there are as many painters in
this
country as hunters. Altogether some
fifty million Americans are currently being stimulated to “do it
yourself” in
the practice of the sundry arts. One
major explanation of this tidal wave is the growing availability of
“instant
success” products, such as chord attachments for pianos and automatic
light
meters for cameras. These devices,
concludes the study, come close to making a pro out of a dubber.”
Max Kozloff: “The truth is that art galleries are
being
invaded by the pin-headed and contemptible style of gum chewers, bobby
soxers,
and worse, delinquents”
Andy Warhol: There are “millions of painters and all pretty good. How can you say that one style is better
than another? You ought to be able to
be an Abstract-Expressionist next week, or a Pop artists, or a realist,
without
feeling you’ve given up something. I
think the artists who aren’t very good should become like everybody
else so
that people would like things that aren’t very good.”
Andy Warhol: “What’s great about
this country is that America started the tradition where the richest
consumers
but essentially the same things as the poorest. You
can be watching TV and see Coca-Cola and know that the
President drinks Coke, Liz Taylor drinks Coke, and just think, you can
drink
Coke too. A Coke is a Coke and no
amount of money can get you a better Coke than the one the bum on the
street
corner is drinking. All the Cokes are
the same and all the Cokes are good.
Liz Taylor knows it, the President knows it, the bum knows it,
and you
know it.”