The father of video art, Korean art ist Nam June Paik, came from a classical music background and was influenced by Cage.
Paik's interest in mass-media technology led to his early experiments altering broadcast images with magnets.
Charlotte Moorman and Paik collaborated on a number of works in the 1960s that were included in the Fluxus festivals.
Designed to be worn by Moorman while playing the cello, the device was wired so she could manipulate images broadcast on the screens with foot pedals and her musical technique.
Paik described the work as an effort to humanize technology, but it also highlighted the status of women's breasts and television in a society dominated by mass media.
The photograph of performance at the Schmela Gallery helped connect Dusseldorf.
A symbolizing cold, hard reason was rested on steel.
The British government maintained that the country's postwar recovery depended on sustained consumption of domestic goods and words to convey art.
Many artists focused their attention on the mid-century standards of beauty because Pop Art fast replacing traditional art for the general public.
International movie stars, mass media and the disposable income of the postwar social status were now measured by what one bought and generation bought, instead of what society's idols were fueled by.
Britain was the birthplace of Pop Art.
After World War II, Hamilton wanted to create a visual expression of the new world, but his main focus was on excessive consumption.
The images were drawn from advertising.
parodies advertising in consumer tastes and popular culture Adam and Eve were depicted in a domestic setting as two figures named automobiles and luxury products reflected life as it was.
The temptations to which they have given in are those of consumer culture.
Adam and Eve are both pin-up girls.
The first couple filled their home with the best new products, including a television, a tape recorder, a vacuum cleaner, and fashionable new furniture, in an attempt to recreate their lost Garden ofEDEN.
A poster for a romance novel is displayed on the wall next to a portrait of a stern looking man.
One possible source of the movement's name is Adam's giant Tootsie Pop, which the English critic Lawrence Alloway described as "Pop art."
A piece of art, 101/4 x 93/4'' (26 x 24.7 cm).
In (c) 2016 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York, authorized Marilyn Monroe.
Several American artists began to use popular consumer items such as Campbell's Soup cans in their art by 1960.
After the actress's death, this detached quality was suggested.
Warhol memorializes the glorification of popular culture, now raised to fine-art screen image of Monroe, using a famous publicity photo status, and an implicit critique of how consumer culture graph transferred directly onto silkscreen, thus rendering transformed all things--from movie stars to art itself-- into it
Marilyn, the sex symbol as a dominant figure, is depicted in a face that is not that of Norma Jeane, who is in the United States.
The movie industry made an immense body of work by Warhol.
Warhol made multiple work between 1960 and his death in 1987, including prints, prints from this screen, aided--as he was in many of his paintings, sculptures, and films.
Warhol named his rock band the studio cal.
Warhol trained as a "The Factory" to highlight the commercial aspect of his art.
The religious connotations of the diptych format suggest that Monroe was a martyr in the pantheon of departed movie stars.
Warhol put a gold background on her head in a print.
The Monroes on the left side of the diptych contrast with those in black and white on the right side, which fade as they are printed and reprinted without re-inking the screen.
Warhol was one of the first artists to exploit the realiza tion that mass media--television in particular-- seem to bring us closer to the world, they actually allow us to observe the world only as detached voyeurs, not real participants.
We are able to switch off at any time because of the constant repetition of images on television.
The canvas is 48 x 48'' and has oil and Magna on it.
His art seems superficial.
The Stable Gallery in New York was transformed into a grocery stockroom by Warhol, who Stacking the fabricated boxes in piles, pointed to the commercial foundation of the art gallery system and critiqued the nature of art.
In his critique of massproduced visual culture, Roy Lichtenstein looked at how popular imagery relates to high art.
While teaching at Rutgers University, Lichtenstein began to make paintings based on panels from war and romance comic books.
He simplified the source images so that they focused on dramatic emotions or actions, parodying the flat, superficial ways in which comic books of the time graphically communicated with their readers.
Lichtenstein plays a game.
There is a silkscreen print on painted wood.
Around the same time Pop artists like Warhol and Lichtenstein were getting attention, another group of New York artists began to produce spare, geometric objects in a style that soon became known as Minimalism.
It is similar to Pop Art in its lack of obvious content, reference to techniques of mass production, and literal presentation style.
Warhol's imitation of advertising images and the shape of the canvas were used as strategies to reduce artistic subjectivity and expressionism in art.
Donald Judd and Robert Morris were the most visible advocates.
Although he included artists such as Klein, Claes Oldenburg, and Kenneth Noland, the essay clearly articulates his own position and significantly influenced the critical response to Minimalism.
The GI Bill, a government program that paid veterans' educational expenses, allowed many postwar artists to attend college.
This generation relied on language to communicate about and shape the public's understanding of their work, like the early Modernists did with their publishing manifestos.