Pop art 1

Pop art

Richard Hamilton's collage Just What Is It That Makes Today’s Homes SoDifferent, So Appealing? (1956) is one of the earliest works to be considered "pop

art".

Pop art is an art movement that emerged inthe mid 1950s in Britain and in the late1950s in the United States.[1] Pop artchallenged tradition by asserting that anartist's use of the mass-produced visualcommodities of popular culture iscontiguous with the perspective of fine art.Pop removes the material from its contextand isolates the object, or combines it withother objects, for contemplation.[1] [2] Theconcept of pop art refers not as much to theart itself as to the attitudes that led to it.[2]

Pop art employs aspects of mass culture,such as advertising, comic books andmundane cultural objects. It is widelyinterpreted as a reaction to thethen-dominant ideas of abstractexpressionism, as well as an expansion uponthem.[3] And due to its utilization of foundobjects and images it is similar to Dada. Popart is aimed to employ images of popular asopposed to elitist culture in art, emphasizingthe banal or kitschy elements of any givenculture, most often through the use of irony.[2] It is also associated with the artists' use of mechanical means ofreproduction or rendering techniques.

Much of pop art is considered incongruent, as the conceptual practices that are often used make it difficult for someto readily comprehend. Pop art and minimalism are considered to be art movements that precede postmodern art, orare some of the earliest examples of Postmodern Art themselves.[4]

Pop art often takes as its imagery that which is currently in use in advertising.[5] Product labeling and logos figureprominently in the imagery chosen by pop artists, like in the Campbell's Soup Cans labels, by Andy Warhol. Eventhe labeling on the shipping carton containing retail items has been used as subject matter in pop art, for example inWarhol's Campbell's Tomato Juice Box 1964, (pictured below), or his Brillo Soap Box sculptures.

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Andy Warhol, Campbell's Tomato Juice Box, 1964, Synthetic polymer paint andsilkscreen ink on wood, 10 inches × 19 inches × 9½ inches (25.4 × 48.3 × 24.1

cm), Museum of Modern Art, New York City

Origins

The origins of pop art in North America andGreat Britain developed differently.[2] InAmerica, it marked a return to hard-edgedcomposition and representational art as aresponse by artists using impersonal,mundane reality, irony and parody to defusethe personal symbolism and "painterlylooseness" of Abstract Expressionism.[3] [6]

By contrast, the origin in post-War Britain,while employing irony and parody, wasmore academic with a focus on the dynamicand paradoxical imagery of Americanpopular culture as powerful, manipulativesymbolic devices that were affecting wholepatterns of life, while improving prosperityof 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 experiences, of living within that culture.[3] Similarly, pop art wasboth 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 ofthe artifacts of mass culture.[3] Among those artists seen by some as producing work leading up to Pop art are PabloPicasso, Marcel Duchamp, Kurt Schwitters, and Man Ray.

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In Great Britain: The Independent Group

Eduardo Paolozzi. I was a Rich Man's Plaything(1947) is considered the initial standard bearer of

"pop art" and first to display the word "pop".Paolozzi showed the collage in 1952 as part of hisgroundbreaking Bunk! series presentation at theinitial Independent Group meeting in London.

The Independent Group (IG), founded in London in 1952, is regardedas the precursor to the pop art movement.[1] [7] They were a gatheringof young painters, sculptors, architects, writers and critics who werechallenging prevailing modernist approaches to culture as well astraditional views of Fine Art. The group discussions centered onpopular culture implications from such elements as mass advertising,movies, product design, comic strips, science fiction and technology.At the first Independent Group meeting in 1952, co-founding member,artist and sculptor Eduardo Paolozzi presented a lecture using a seriesof collages titled Bunk! that he had assembled during his time in Parisbetween 1947–1949.[1] [7] This material consisted of 'found objects'such as, advertising, comic book characters, magazine covers andvarious mass produced graphics that mostly represented Americanpopular culture. One of the images in that presentation was Paolozzi's1947 collage, I was a Rich Man's Plaything, which includes the firstuse of the word "pop″, appearing in a cloud of smoke emerging from arevolver.[1] [8] Following Paolozzi's seminal presentation in 1952, theIG focused primarily on the imagery of American popular culture,particularly mass advertising.[6]

Subsequent coinage of the complete term "pop art" was made by JohnMcHale for the ensuing movement in 1954. "Pop art" as a moniker wasthen used in discussons by IG members in the Second Session of theIG in 1955, and the specific term "pop art" first appeared in published print in an article by IG members Alison andPeter Smithson in Arc, 1956.[9] However, the term is often credited to British art critic/curator, Lawrence Alloway ina 1958 essay titled The Arts and the Mass Media, although the term he uses is "popular mass culture".[10]

Nevertheless, Alloway was one of the leading critics to defend the inclusion of the imagery found in mass culture infine art.

Pop art 4

In the United States

Roy Lichtenstein's Drowning Girl (1963) on display atthe Museum of Modern Art, New York

Although the movement began in the late 1950s, Pop Art inAmerica was given its greatest impetus during the 1960s. By thistime, American advertising had adopted many elements andinflections of modern art and functioned at a very sophisticatedlevel. Consequently, American artists had to search deeper fordramatic styles that would distance art from the well-designedand clever commercial materials.[6] As the British viewedAmerican popular culture imagery from a somewhat removedperspective, their views were often instilled with romantic,sentimental and humorous overtones. By contrast, Americanartists being bombarded daily with the diversity of mass producedimagery, produced work that was generally more bold andaggressive.[7]

Two important painters in the establishment of America's pop artvocabulary were Jasper Johns and Robert Rauschenberg.[7] While

the paintings of Rauschenberg have relationships to the earlier work of Kurt Schwitters and other Dadaists, hisconcern was with social issues of the moment. His approach was to create art out of ephemeral materials and usingtopical events in the life of everyday America gave his work a unique quality.[7] [11] Johns’ and Rauschenberg’s workof the 1950s is classified as Neo-Dada, and is visually distinct from the classic American Pop Art which began in theearly 1960s.[12] [13]

Of equal importance to American pop art is Roy Lichtenstein. His work probably defines the basic premise of popart better than any other through parody.[7] Selecting the old-fashioned comic strip as subject matter, Lichtensteinproduces a hard-edged, precise composition that documents while it parodies in a soft manner.The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a direct attachment tothe commonplace image of American popular culture, but also treat the subject in an impersonal manner clearlyillustrating the idealization of mass production.[7] Andy Warhol is probably the most famous figure in Pop Art.Warhol attempted to take Pop beyond an artistic style to a life style, and his work often displays a lack of humanaffectation that dispenses with the irony and parody of many of his peers.[14] [15]

Early exhibitionsClaes Oldenburg, Jim Dine and Tom Wesselmann had their first shows in the Judson Gallery in 1959/60. In 1960Martha Jackson showed installations and assemblages, New Media - New Forms featured Hans Arp, Kurt Schwitters,Jasper Johns, Claes Oldenburg, Robert Rauschenberg, Jim Dine and May Wilson. In 1961 Oldenburg created a storefor Martha Jackson's spring show Environments, Situations, Spaces. In December he showed The Store at hisstudio.[16] [17]

In London, the annual RBA exhibition of young talent in 1960 first showed American Pop influences. In January1961, the most famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, Allen Jones,Derek Boshier, Patrick Caulfield, Peter Phillips and Peter Blake on the map. Hockney, Kitaj and Blake went on towin prizes at the John-Moores-Exhibition in Liverpool in the same year.Opening October 31, 1962, Willem de Kooning's New York art dealer, the Sidney Janis Gallery, organized the groundbreaking International Exhibition of the New Realists, a survey of new to the scene American Pop, French, Swiss, Italian New Realism, and British Pop art. The fifty-four artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein, Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips and Peter Blake (his large The Love Wall from 1961) and Yves Klein,

Pop art 5

Arman, Daniel Spoerri, Christo, Mimmo Rotella. Martial Raysse, Niki de Saint-Phalle and Jean Tinguely saw theshow in New York and were stunned by the size and the look of the American work. Also shown were Marisol,Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists, but gainedDine,Oldenburg, Segal and Wesselmann.[18]

A bit earlier, on the West-coast, Roy Lichtenstein, Jim Dine and Andy Warhol from NYC, Phillip Hefferton andRobert Dowd from Detroit; Edward Ruscha and Joe Goode from Oklahoma City, and Wayne Thiebaud fromCalifornia were included in the New Painting of Common Objects show. This first Pop Art museum exhibition inAmerica was curated by Walter Hopps at the Pasadena Art Museum [19]. Pop Art now was a success and was goingto change the art world forever. New York followed Pasadena in 1963 when the Guggenheim Museum exhibited SixPainters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein,Robert Rauschenberg, James Rosenquist, and Andy Warhol.[20]

By 1962, the Pop artists began to exhibit in commercial galleries in New York and Los Angeles, for some it wastheir first commercial one-man show. The Ferus Gallery presented Andy Warhol in Los Angeles and Ed Ruscha in1963. In New York, the Green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann, the Stable GalleryR. Indiana and Warhol (his first New York show), the Leo Castelli Gallery presented Rauschenberg, Johns, andLichtenstein, Martha Jackson showed Jim Dine, and Allen Stone showed Wayne Thiebaud. By 1965–1966 after theGreen Gallery and the Ferus Gallery closed the Leo Castelli Gallery represented Rosenquist, Warhol, Rauschenberg,Johns, Lichtenstein and Ruscha, The Sidney Janis Gallery represented Oldenburg, Segal, Wesselmann and Marisol,while Allen Stone continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.[21]

Proto-popIt should also be noted that while the British pop art movement predated the American pop art movement, there weresome earlier American proto-Pop origins which utilized 'as found' cultural objects.[3] During the 1920s Americanartists Gerald Murphy, Charles Demuth and Stuart Davis created paintings prefiguring the pop art movement thatcontained pop culture imagery such as mundane objects culled from American commercial products and advertisingdesign.[22] [23] [24]

In SpainIn Spain, the study of pop art is associated with the "new figurative", which arose from the roots of the crisis ofinformalism. Eduardo Arroyo could be said to fit within the pop art trend, on account of his interest in theenvironment, his critique of our media culture which incorporates icons of both mass media communication and thehistory of painting, and his scorn for nearly all established artistic styles. However, the Spaniard who could beconsidered the most authentically “pop” artist is Alfredo Alcaín, because of the use he makes of popular images andempty spaces in his compositions.Also in the category of Spanish pop art is the “Chronicle Team” (El Equipo Crónica), which existed in Valenciabetween 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can becharacterized as Pop because of its use of comics and publicity images and its simplification of images andphotographic compositions. Filmmaker Pedro Almodovar emerged from Madrid's "La Movida" subculture (1970s)making low budget super 8 pop art movies and was subsequently called the Andy Warhol of Spain by the media atthe time. In the book "Almodovar on Almodovar" he is quoted saying that the 1950s film "Funny Face" is a centralinspiration for his work. One Pop trademark in Almodovar's films is that he always produces a fake commercial tobe inserted into a scene.

Pop art 6

In JapanPop art in Japan is unique and identifiable as Japanese because of the regular subjects and styles. Many Japanese popartists take inspiration largely from anime, and sometimes ukiyo-e and traditional Japanese art. The best-known popartist currently in Japan is Takashi Murakami, whose group of artists, Kaikai Kiki, is world-renowned for their ownmass-produced but highly abstract and unique superflat art movement, a surrealist, post-modern movement whoseinspiration comes mainly from anime and Japanese street culture, is mostly aimed at youth in Japan, and has made alarge cultural impact. Some artists in Japan, like Yoshitomo Nara, are famous for their graffiti-inspired art, andsome, such as Murakami, are famous for mass-produced plastic or polymer figurines. Many pop artists in Japan usesurreal or obscene, shocking images in their art, taken from Japanese hentai. This element of the art catches the eyeof viewers young and old, and is extremely thought-provoking, but is not taken as offensive in Japan. A commonmetaphor used in Japanese pop art is the innocence and vulnerability of children and youth. Artists like Nara andAya Takano use children as a subject in almost all of their art. While Nara creates scenes of anger or rebellionthrough children, Takano communicates the innocence of children by portraying nude girls.

In ItalyIn Italy, Pop Art was known from 1964, and took place in different forms, such as the "Scuola di Piazza del Popolo"in Rome, with artists such as Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa and also some artworksby Piero Manzoni and Mimmo Rotella.Italian Pop Art originated in ‘50s culture, to be precise in the works of two artists: Enrico Baj and Mimmo Rotella,who have every right to be considered the forerunners of this scene. In fact, it was around 1958-59 that Baj andRotella abandoned their previous careers – which might be generically defined as a non-representational genredespite being run through with post-Dadaism – to catapult themselves into a new world of images and the reflectionson them which was springing up all around them. Mimmo Rotella’s torn posters gained an ever more figurative taste,often explicitly and deliberately referring to the great icons of the times. Enrico Baj’s compositions were steeped incontemporary kitsch, which was to turn out to be a gold mine of images and stimuli for an entire generation ofartists.The novelty lies in the new visual panorama, both inside the four domestic walls and out: cars, road signs, television,all the "new world." Everything can belong to the world of art, which itself is new. In this respect, Italian Pop Arttakes the same ideological path as that of the International scene; the only thing that changes is the iconography and,in some cases, the presence of a more critical attitude to it. Even in this case, the prototypes can be traced back to theworks of Rotella and Baj, both far from neutral in their relationship with society. Yet this is not an exclusiveelement; there is a long line of artists, from Gianni Ruffi to Roberto Barni, from Silvio Pasotti to Umberto Bignardiand Claudio Cintoli who take on reality as a toy, as a great pool of imagery from which to draw material withdisenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of “let me havefun” à la Aldo Palazzeschi.[25]

In The NetherlandsWhile in the Netherlands there was no formal Pop Art movement, there was a group of artists who spent time in NewYork during the early years of Pop Art and drew inspiration from the international Pop Art movement. Keyrepresentatives of Dutch Pop Art are Gustave Asselbergs, Woody van Aamen, Daan van Golden, Rik Bentley, JanCremer, Wim T. Schippers and Jacques Frenken. They had in common that they opposed the Dutch petit bourgeoismentality by creating humorous works with a serious undertone. Examples include Sex O'Clock by Woody vanAmen and Crucifix / Target by Jacques Frenken.[26]

Pop art 7

Painting and sculpture examples

Jasper Johns, 1954–1955Flag

Andy Warhol, 1962 Campbell'sSoup Cans

Tom Wesselmann,1962 Still Life

Wayne Thiebaud,1963 Three Machines

Claes Oldenburg, 1966Soft Bathtub

David Hockney, 1967 A BiggerSplash

Alex Katz, 1970 Vincentwith Open Mouth

Jim Dine, 1984–1985 The RobeFollowing Her

Notable artists

• Billy Apple • Jann Haworth • John McHale • Larry Rivers• Evelyne Axell • David Hockney • Marisol • James Rosenquist• Sir Peter Blake • Dorothy Iannone • Peter Max • Ed Ruscha• Derek Boshier • Robert Indiana • Takashi Murakami • Niki de Saint Phalle• Pauline Boty • Jasper Johns • Yoshitomo Nara • Peter Saul• Patrick Caulfield • Allen Jones • Claes Oldenburg • George Segal• Allan D'Arcangelo • Alex Katz • Julian Opie • Colin Self• Jim Dine • Corita Kent • Eduardo Paolozzi • Marjorie Strider• Rosalyn Drexler • Kiki Kogelnik • Peter Phillips • Aya Takano• Robert Dowd • Nicholas Krushenick • Sigmar Polke • Wayne Thiebaud• Erró • Yayoi Kusama • Hariton Pushwagner • Andy Warhol• Red Grooms • Roy Lichtenstein • Mel Ramos • Idelle Weber• Richard Hamilton • Richard Lindner • Robert Rauschenberg • John Wesley• Keith Haring • Tom Wesselmann

Pop art 8

Notes and references[1] Livingstone, M., Pop Art: A Continuing History, New York: Harry N. Abrams, Inc., 1990[2] de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.[3] Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.[4] Harrison, Sylvia (2001-08-27). Pop Art and the Origins of Post-Modernism. Cambridge University Press.[5] http:/ / www. the-artists. org/ movement/ Pop_Art. html[6] Gopnik, A.; Varnedoe, K., High & Low: Modern Art & Popular Culture, New York: The Museum of Modern Art, 1990[7] Arnason, H., History of Modern Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.[8] Tate Collection image: I was a Rich Man's Plaything (http:/ / www. tate. org. uk/ imap/ imap2/ pages/ paolozzi. html)[9] Alison and Peter Smithson, "But Today We Collect Ads" , reprinted on page 54 in Modern Dreams The Rise and Fall of Pop, published by

ICA and MIT, ISBN 0262-73081-2[10] Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, February 1958.[11] Sandler, Irving H. The New York School: The Painters and Sculptors of the Fifties, New York: Harper & Row, 1978. ISBN 0-06-438505-1

pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and ogay gay gay agay gay BLACK POWER ther gestural realists;[12] Robert Rosenblum, "Jasper Johns" Art International (September 1960): 75.[13] Hapgood, Susan, Neo-Dada: Redefining Art, 1958-62. New York: Universe Books, 1994.[14] Michelson, Annette, Buchloh, B. H. D. (eds) Andy Warhol (October Files), MIT Press, 2001.[15] Warhol, Andy. The Philosophy of Andy Warhol, from A to B and back again. Harcourt Brace Jovanovich, 1975[16] The Store, MoMA (http:/ / www. moma. org/ collection/ browse_results. php?criteria=O:AD:E:4397& page_number=12& template_id=1&

sort_order=1) retrieved July 10, 2010[17] Joslyn Art Museum, The Great American Pop Art Store: Multiples of the Sixties 2000 exhibition (http:/ / www. tfaoi. com/ newsm1/

n1m651. htm) retrieved July 10, 2010[18] ,Andy Warhol poetry and gossip, in the 1960s (http:/ / books. google. com/ books?id=hLgyznMrORsC& pg=PA83& lpg=PA83& dq=New+

Realism+ at+ Sidney+ Janis& source=bl& ots=2CQXoBBdiS& sig=HBQNsOqvkZvHEEFnWhnhTls-EH4& hl=en&ei=07IbS67CA4TBlAeTt63vCQ& sa=X& oi=book_result& ct=result& resnum=10& ved=0CCEQ6AEwCQ#v=onepage& q=New Realism atSidney Janis& f=false) retrieved December 6, 2009

[19] http:/ / www. nortonsimon. org/ about/ history. aspx[20] World Cat. (http:/ / www. worldcat. org/ oclc/ 360205683) retrieved December 6, 2009[21] Pop Artists: Andy Warhol, Pop Art, Roy Lichtenstein, Jasper Johns, Peter Max, Erró, David Hockney, Wally Hedrick, Michael Leavitt (May

20, 2010) Reprinted: 2010, General Books, Memphis, Tennessee, USA, ISBN 978-1155483498, ISBN 1155483499.[22] New Yorker article, accessed online August 28, 2007 (http:/ / www. newyorker. com/ arts/ critics/ artworld/ 2007/ 08/ 06/

070806craw_artworld_schjeldahl)[23] Wayne Craven, American Art: History and Culture. p.464.[24] accessed online August 28, 2007 (http:/ / www. jasonkaufman. com/ articles/ stuart_davis_american_modernist. htm)[25] http:/ / www. comune. modena. it/ galleria/ exhibitions/ past-exhibitions/ 2005/ pop-art-italia-1958-1968-1[26] http:/ / www. 8weekly. nl/ artikel/ 2701/ Dutch Pop Art & The Sixties

Further reading• Lucy R. Lippard, Pop Art, with contributions by Lawrence Alloway, Nancy Marmer, Nicolas Calas, Frederick A.

Praeger, New York, 1966.

External links• Brooklyn Museum Exhibitions: Seductive Subversion: Women Pop Artists, 1958–1968, Oct. 2010-Jan. 2011

(http:/ / www. brooklynmuseum. org/ exhibitions/ seductive_subversion/ )• Brooklyn Museum, Wiki/Pop (http:/ / www. brooklynmuseum. org/ exhibitions/ seductive_subversion/ wiki/ )

Article Sources and Contributors 9

Article Sources and ContributorsPop art  Source: http://en.wikipedia.org/w/index.php?oldid=426784474  Contributors: - ), 1717, 21stcenturyart, AVand, AaronF2, Abcdefggg11hyup, Abd999, Acalamari, Aicchalmers, Aitias,Ajh16, Ajm81, Akriasas, Alansohn, Ale jrb, Alessandroandcharlie, Alexius08, Alp1776, Alsandro, Amatosov, Andonic, Andrew Levine, AngelOfSadness, Angela, Antandrus, Artemis-Arethusa,Artfan300, Artisu, Artpainter, Artscholar, AstroNomer, Avillia, BTfromLA, Backslash Forwardslash, Balthazarduju, Bart133, BaseballDetective, BasketballZain, Bator, Bcrowell, Bdj, Benno96,Betacommand, Bettia, Bigtable, Billscottbob, Binary TSO, Bishonen, Blehfu, Blood sliver, Bm1992, Bongwarrior, Boosieman5, BornagainPOP, Bozzieman6, Brianga, BrokenSphere,Bsadowski1, Bus stop, CWY2190, CajunBeauty, Californian Treehugger, Calliopejen1, Calmer Waters, CalviNet, Camembert, Can't sleep, clown will eat me, Canadianartist, CanisRufus,CapitalR, Capricorn42, Captinlee, Cheesypeanuts, Chepry, Chill doubt, Chocolateboy, Chowbok, Chris 73, Chuunen Baka, Ciennasummer, Cikibli, Cirquedujackrabbit, ClaireLavin,ClarinetSteve, Closedmouth, Clubmarx, Coasterlover1994, Colossal Harter, Cometstyles, Courcelles, Cozy67, Crackpotmark, Craftyjack, Craigor, Crohnie, Crystalh1982, Cst17, Culturejam3, D,D6, DARTH SIDIOUS 2, DAVE BOWN, DVD R W, DW, DaEdyytour, Dale908, Dalliance, Dammit, Danlikebooks, Darkwind, DaveAyers, Davemcarlson, Daveydweeb, Dawg1234, Dblandin,DeadEyeArrow, Delldot, Demize, DennisCaddy, Dentren, Deor, Dezignr, Dforest, Dipics, Discospinster, Doctorhawkes, DrJim6, Dspradau, Durin, Dush68, Dynaflow, Dysepsion, E. 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Image Sources, Licenses and ContributorsImage:Hamilton-appealing2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hamilton-appealing2.jpg  License: unknown  Contributors: User:TyreniusImage:Campbell's Tomato Juice Box. 1964. Synthetic polymer paint and silkscreen ink on wood.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Campbell's_Tomato_Juice_Box._1964._Synthetic_polymer_paint_and_silkscreen_ink_on_wood.jpg  License: unknown  Contributors: AndyWarholImage:I was a Rich Man's Plaything 1947.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:I_was_a_Rich_Man's_Plaything_1947.jpg  License: unknown  Contributors: Photo filecreated by Tate Gallery: London -- Original artwork created by Eduardo Paolozzi (b:1924-d:2005)Image:Roy Lichtenstein Drowning Girl.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Roy_Lichtenstein_Drowning_Girl.jpg  License: unknown  Contributors: Artaxerex, Eceresa,FirstPrinciples, Limideen, Modernist, Plrk, Sparkit, Stoshmaster, Vipinhari, Vrenator, Weirdy, 13 anonymous editsImage:Jasper Johns's 'Flag', Encaustic, oil and collage on fabric mounted on plywood,1954-55.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Jasper_Johns's_'Flag',_Encaustic,_oil_and_collage_on_fabric_mounted_on_plywood,1954-55.jpg  License: unknown  Contributors:DeadlyAssassin, Mocus22, Modernist, Wpearl, 2 anonymous editsImage:Campbells Soup Cans MOMA.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Campbells_Soup_Cans_MOMA.jpg  License: unknown  Contributors: User:Hu TotyaImage:'Still Life -20', mixed media work by --Tom Wesselmann--, 1962, --Albright-Knox Gallery--.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:'Still_Life_-20',_mixed_media_work_by_--Tom_Wesselmann--,_1962,_--Albright-Knox_Gallery--.jpg  License: unknown  Contributors:Modernist, Wmpearl, 1 anonymous editsImage:WayneThiebaudThreeMachines.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:WayneThiebaudThreeMachines.jpg  License: unknown  Contributors: Adamsofen,Cheakamus, Materialscientist, Modernist, VegitaU, 4 anonymous editsImage:Soft Bathtub.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Soft_Bathtub.jpg  License: GNU Free Documentation License  Contributors: User:PostdlfImage:Hockney, A Bigger Splash.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hockney,_A_Bigger_Splash.jpg  License: unknown  Contributors: Amphytrite, Bkell, Cactus.man,Calmer Waters, Gurch, J.delanoy, Modernist, Sparkit, Tyrenius, 6 anonymous editsImage:Alex Katz's 1970 painting of his son 'Vincent with Open Mouth'.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Alex_Katz's_1970_painting_of_his_son_'Vincent_with_Open_Mouth'.jpg  License: unknown  Contributors: DARTH SIDIOUS 2, DVdm,Ethicoaestheticist, Fuzzy510, Modernist, Rettetast, Sparkit, Wikipelli, Wpearl, 5 anonymous editsImage:'The Robe Following Her - 4', oil on canvas painting by Jim Dine, 1984-5.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:'The_Robe_Following_Her_-_4',_oil_on_canvas_painting_by_Jim_Dine,_1984-5.jpg  License: unknown  Contributors: Gurch, Modernist, Sdrtirs,Wmpearl, 2 anonymous edits

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