Pop Artists - United States

United States

Although Pop Art began in the late 1950s, Pop Art in America was given its greatest impetus during the 1960s. The term "Pop Art" was officially introduced in December 1962; the Occasion was a "Symposium on Pop Art" organized by the Museum of Modern Art. By this time, American advertising had adopted many elements and inflections of modern art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials. As the British viewed American popular culture imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By contrast, American artists being bombarded daily with the diversity of mass-produced imagery, produced work that was generally more bold and aggressive.

Two important painters in the establishment of America's pop art vocabulary were Jasper Johns and Robert Rauschenberg. While the paintings of Rauschenberg have relationships to the earlier work of Kurt Schwitters and other Dadaists, his concern was with social issues of the moment. His approach was to create art out of ephemeral materials and using topical events in the life of everyday America gave his work a unique quality. Johns' and Rauschenberg's work of the 1950s is classified as Neo-Dada, and is visually distinct from the classic American Pop Art which began in the early 1960s.

Of equal importance to American pop art is Roy Lichtenstein. His work probably defines the basic premise of pop art better than any other through parody. Selecting the old-fashioned comic strip as subject matter, Lichtenstein produces a hard-edged, precise composition that documents while it parodies in a soft manner. Lichtenstein used oil and Magna paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl now is in the collection of Museum of Modern Art, New York.) Also featuring thick outlines, bold colors and Ben-Day dots to represent certain colors, as if created by photographic reproduction. Lichtenstein would say of his own work: Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock's or Kline's." Pop art merges popular and mass culture with fine art, while injecting humor, irony, and recognizable imagery and content into the mix.

The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a direct attachment to the commonplace image of American popular culture, but also treat the subject in an impersonal manner clearly illustrating the idealization of mass production. Andy Warhol is probably the most famous figure in Pop Art, in fact, art critic Arthur Danto once called Warhol "the nearest thing to a philosophical genius the history of art has produced". Warhol attempted to take Pop beyond an artistic style to a life style, and his work often displays a lack of human affectation that dispenses with the irony and parody of many of his peers.