Pop Art Was Simply a Reflection of Consumer Society and Mass Media

set off art was simply a reflectance of consumer companionship and flock media, not a critique. Discuss with reference to the acetify of 3 artists. out Art was ace of the major art movements of the ordinal century. It brought art back to the material realities of perfunctory life, in which nondescript masses derived most their visual sport from soda come forthular mass husbandry, such as advertising, television, magazines, or comic books and comic strips. As it emerged from the experiments of the fifties, was the ideal instrument for approach path to grips with the American urban environs. Stangos, 1997) As the post-war generation and the stable political situation, it hatch commonwealth back to the qualities of life. At the same times, America urban environment was influence by industrialism, consumer society and the mass media explosion. The pop artists have prep atomic number 18 subjects, which have previously been invisible beca social occasion they be so m uch a part of our surroundings that we dont see them. These things now sustain to appear, once the artists have pointed them come out of the closet, and we disc all over that the world is full of bug out object, which atomic number 18 expressive of our times and our values for better or for worse. Mahsun, 1989, p. 163) Pop art was established from the reality of basic consumer society in that locationfore, it was accepted by the society easily.Pop art is said to be a reflection of culture as artists are expectant new interpretation to different ordinary objects in their art brings. Jasper Johns establish his disturbanceer in art in 1954, he uses lurchs, numbers, letters and maps these kind of common symbols in day-to-day life as element or piece of music of his art work. Jasper talks near his work, Flags (fig. ), in which he thinks that iris diaphragm this kind of most ordinary objects can be dealt with without having to judge them, they seem to me to exist as clear fac ts, not involving artistic hierarchy. (Harrison and Wood, 2001, p. 721) He adds that one thinks it has forty-eight stars and suddenly it has fifty stars it is no perennial of any great interest. The painting of a flag is always about a flag, but it is no more about a flag than it is about a brush-stroke or about a color or about the physicality of the paint, I think. (Harrison and Wood, 2001, p. 723) People pull up stakes not care anymore about the cultural meaning of a flag, such as the meaning behind the number of stars of flag, but it transforms to a new pattern of merely art element- brush-stroke, color and paint. The deform of ordinary objects is amend into a new image apply oil and collage on fabric. By looking at the quality of work, one may understand it is unfinished, however Jasper said it is his intention. I think a painting should involve more experience than simply intended adducement.I personally would handle to spare the painting in a state of shunning st atement, so that one is left with the fact that one can experience apiece as one pleases that is, not to focus the attention in one way, but to leave the situation as kind of actual thing, so that the experience of it is variable. (Harrison and Wood, 2001, p. 726) Besides he is interested in deforming objects, he too intended to leave the painting not perfect as people usually conceived, to let viewer to experience and interpret the painting in their avow way.Lippard (1966) also said that he has neutralized the gap amid life and art by composing imperfect synthesis of theme and treatment. The question about is it a painting or flag is no more important. He integrates art and life with the use of ordinary objects and the imperfect way to treat his art. The new interpretation of ordinary culture is arousing resonance of viewers rather that a voicing out a statement to challenge the society. Andy Warhol, another master of pop art giving a new interpretation of mass production. Fo r the most 1950s he was a successful graphic designer, particularly in the field of enclothe illustration.In 1960, Warhol, produced his first canvases depicting comic strip characters. The canonical repeated dope Cans, Disaster, Elvises and Marilyns followed in 1962. Warhol talks about his work, Campbells Soup Cans,(fig. 2), for the reason he start painting soup cans because I used to drink it. I used to have the same lunch every day, for twenty years, I guess, the same thing over and over again. (Harrison and Wood, 2001, P. 732) Painting usually reflects the painters mind, which is happening around them. And the Soup cans totally reflect what Warhols life had and what he concerned.Daily objects are used again as the theme of art work which is reminding viewers about very common objects, which Warhol is placing a new value and thought into them done his work. Another series of painting, the cobblers last series (fig. 3), and the reason to start this series is because there was lots of contingency news from the mass media. Warhol realized that everything he was doing must have been Death. That started it. scarce he believed when one see a horrible picture over and over again would lose the effect (Harrison and Wood, 2001, P. 732).He even wants to repeat the images want what a machine does. In the 60s, most of the American similar to Warhol ingeminate their life likes a machine. No one would like to be a machine, but Warhol does. Warhol said that I want to be a machine, and I feel that whatever I do and do machine like is what I want to do. (Harrison and Wood, 2001, P. 732) In 1963 Warhol was mass-producing the images by silkscreen technique, for the repeated images makes us aware again of objects which have lost their visual recognition through constant exposure.We take a fresh look at things beaten(prenominal) to us, yet uprooted from their ordinary contexts, and reflect upon the meaning of contemporary existence. (Stangos, 1997, P. 229) Warhol wan ts an art that will appeal to everybody, and his products range from soup to cheesecake, Brillo to Marilyn Monroe, nose surgery to Jacqueline Kennedy, as he mention everything is beautiful, Pop is everything. (Stangos, 1997) Once again, his art work reflects the mundane daily life of Warhol. It becomes widespread and popular because of the objects are so attached to everyones common life in America, which recalls peoples memory.It is more in all likelihood that he is playful to ordinary materials, giving new look to them, mass producing them, rather to give a fine statement to the contemporary society. Roy Lichtenstein, who was a founder and foremost practitioner of pop art, he interest in the comic-strip cartoon and blown-up enlargements of things as an art theme probably began with a painting of Mickey Mouse and Donald Duck, Look Mickey (fig. 4). Although he was ab initio dissatisfied with his technique and uncomfortable with direct appropriation, he took great pleasure in pre senting well-known comic-strip figures in a fine art format.He thinks that Pop art is commercial art which is used as subject effect in painting. (Franciz, Mark and Foster, 2005) He is interested in signs and comic strips because they are usable, forceful and vital about commercial art. We are using those things- but we are not really advocating stupidity, international teenagerism and terrorism. (Franciz, Mark and Foster, 2005, p. 229) The use of comic strips itself already brings the cultural effect which everyone could digest easily, while he did not intend to give a judgment to the culture or society.Roy also said that he painted directly. To express the things in a painterly style would dilute it the techniques he uses are not commercial, they scarcely appear to be commercial and the ways of seeing and composing and integrate are different and have different ends. Roy believes pop art looks out into the world it appears to accept its environment, which is not good or bad, b ut different-another state of mind. And the tension between apparent object-directed products and actual ground- directed processes is an important forte of pop art. Mahsun, 1989,) When the curator at the modern museum has called pop art fascistic and militaristic, the 1st televised war (fig 5), Roy said that The heroes depicted in comic books are fascist types, but I dont take them naughtily in these paintings- maybe there is a point in not taking them seriously, a political point. I use them for purely globe reason, and thats not what those heroes were invented for. Pop art has very immediate and of the hour meanings which will vanish- that kind of thing is ephemeral- and pop takes advantage of this meaning which is not supposed to last, to divert you from its content.I think the formal statement in my work will become clearer in time. (Mahsun, 1989, P. 113) It is clear that Roy does not take the sumptuous effect of cartoon strip itself seriously, even agrees with the fading meaning of pop art it may convey. It does not intimacys to him whether the effect will be long-lasting. He takes the immediate effect of cartoon images which are popular and influential in the moment. One could hardly think about he is criticizing the culture from his own statement. In 50s to 60s America societies, pop culture is the product of the Industrial Revolution, and of the series of technological revolutions that succeed it. Nikos Stangos, 1997) The impact of Mass media from radio, television or magazine advertising was fully influenced in America urban environment, who can kick the bucket without this complicated mass media element. According to impact of mass media, the commonplace objects (such as comic strips, famous star and commodities) were used as subject matter in pop art. When the pop artists discovered those invisible objects, they realized that there were full of new interesting art element surround them. When the daily commodities become an art piece, the re lationship between the commonplace objects and the consumer are vibrate easily.That is the reason why pop art acceptance and recognition by the consumer society and become a fad quickly. (Harrison and Wood, 2001,) It is more prone that Pop art is reflecting the society and culture rather than judging it. Everything about pop art was, and is, transient and provisional. By embracing these qualities, the pop artists held a mirror to society itself. (Stangos, 1997, P. 238) (Fig. 1) Flags, 1952 (Fig. 2) Campbells Soup Can, 1962 (Fig. 3) five deaths, 1963 (Fig. 4) Look mickey,1961 (Fig. 5) The 1st televised war,1972 abduce list Francis, Mark and Foster, 2005, Hal (eds). Pop, Phaidon, New York Harrison, C and Wood, P 2001, Art in theory 1900-2000 and anthology of changing ideas, Oxford, Blackwell. Honnet, K 2007, Andy Warhol 1928-1987 commerce into Art, Taschen, Germany Lippard,L. R, 1966, Pop Art, Thames and Hudson, London Livingstone, M, 2000, Pop art a continuing hi story, Thames and Hudson, Singapore Mahsun, C. A. R, 1989, Pop Art the critical dialogue, UMI Research Press, London Stangos, N, 1997, Concepts of Modern Art, third edition, Thames and Hudson, Singapore