Pop art

Pop art is an art movement that emerged in the mid 1950s in Britain and in the late 1950s in the United States.[1] Pop art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc. In Pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material.[1][2] The concept of pop art refers not as much to the art itself as to the attitudes that led to it.[2] Pop art employs aspects of mass culture, such as advertising, comic books and mundane cultural objects. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them.[3] And due to its utilization of found objects and images it is similar to Dada. Pop art is aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use of irony.[2] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. Much of pop art is considered incongruent, as the conceptual practices that are often used make it difficult for some to readily comprehend. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of Post-modern Art themselves.[4] Pop art often takes as its imagery that which is currently in use in advertising.[5] Product labeling and logos figure prominently in the imagery chosen by pop artists

like in the Campbell's Soup Cans labels, by Andy Warhol. Even the labeling on the shipping carton containing retail items has been used as subject matter in pop art, for example in Warhol's Campbell's Tomato Juice Box 1964, (pictured below), or his Brillo Soap Box sculptures. The origins of pop art in North America and Great Britain developed differently.[2] In the United States, it marked a return to hard-edged composition and representational art as a response by artists using impersonal, mundane reality, irony and parody to defuse the personal symbolism and "painterly looseness" of Abstract Expressionism.[3][6] By contrast, the origin in post-War Britain, while employing irony and parody, was more academic with a focus on the dynamic and paradoxical imagery of American popular culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while improving prosperity of a society.[6] Early pop art in Britain was a matter of ideas fueled by American popular culture viewed from afar, while the American artists were inspired by the experience of living within that culture.[3] Similarly, pop art was both an extension and a repudiation of Dadaism.[3] While pop art and Dadaism explored some of the same subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with detached affirmation of the artifacts of mass culture.[3] Among those artists seen by some as producing work leading up to Pop art are Pablo Picasso, Marcel Duchamp, Kurt Schwitters, and Man Ray.