POP ART Elements - repetition - cartoon like?

- used widely in advertising Event - Exhibition - Pop Art Exhibition in FMDS Objective - To inform others of the event Target Audience - Youths, 20 - 30s I want to follow Andy Warhol's style in Pop Art. Andy Warhol:
Key Elements of Andy Warhol Artwork By: Heather Mayer The key elements of Andy Warhol's artwork can be found in each of his art forms, whether you are examining paintings, silk screens or cinematic projects. Warhol was the leader in an artistic style that became known as American Pop Art, a genre that has remained extraordinarily popular. While other artists have become part of the Pop Art movement, there are components found in Warhol's works that serve as distinctive Warhol signatures. Fame Warhol incorporated the element of fame into his work and his life. Many of Warhol's pieces featured famous people, reflecting a thirst for and fascination with the concept of fame. Not only did Warhol seek fame and highlight fame in his work, he tried to perfect it. Warhol took away all facial imperfections in his portraits, which included Marilyn Monroe, Elvis and Mick Jagger, as well as his self-portraits. Consumerism Warhol's artwork, such those that feature the Campbell's soup cans, Brillo pads and Coca-Cola bottles, reflects on America's fascination with consumerism and mass production. These types of paintings were generally repetitive, which was an intentional choice on Warhol's part-he wanted to give the feeling of constant advertising. Sex It's believed that Warhol was gay, although some describe him to have been asexual. Warhol depicted sex, especially homosexuality, in his work. In addition to homosexuality, his elements of sex include issues of sexual complexity. Nothing in Warhol's world was exactly as it seemed, and he thrived on the idea of keeping people guessing about all facets of life, especially sexuality. Bright Colors Warhol used the primary colors-blue, red and yellow-in many of his pieces. These colors gave his work the feeling of pop culture. Bright colors were an element used in his iconic Campbell's soup cans and Coca-Cola cans, as well as his Marilyn paintings.

Elements: Art Can be Made From Anything

Up until the 20th century, traditional fine art painting was normally done in oils: sculpture in bronze, stone or wood. Furthermore, subjects were typically those deemed worthy of aesthetic treatment: the human nude, the human face, the classic landscape, genre-scene or still life. Even Cubism, despite its revolutionary nature, tended to observe many of these artistic conventions. Then came the First World War and the anti-art movement known as Dada. This movement initiated the idea that art can be created from all sorts of stuff, including the most banal everyday scraps of material. Pop-artists maintained and developed this idea. They presented the modern world of popular culture with whatever materials they though appropriate, no matter how low-brow or trivial. The Idea is More Important Than the Work of Art Itself Also, up until Dada, the essential feature of traditional fine art was the work itself - the painting, sculpture, etching, carving or whatever. Without a "work of art", there was nothing. All attention was therefore focused on the quality of the finished product, and the skills required to produce it. Dada rebelled against this by celebrating the "idea behind the artwork" rather than the work itself. Many Pop-artists continued this tradition of Conceptual Art. They placed more importance on the impact of the work, and less importance on the making of it. Like the use of low-brow materials, this emphasis on a work's concept and impact was interpreted as an attempt to debunk the gravitas of the art world. This was partly true: some Pop artists did share the anti-art and anti-aesthetic credo of earlier Dadaists. However, mainstream Pop was more positive and more concerned to create new forms of expression, using new methods and new pictorial imagery, than to denigrate tradition. Indeed, many Pop-artists saw themselves as contributing to, rather than junking, fine art. A More Inclusive and More Relevant Style of Art No matter how exquisitely conceived and painted, and how well received by influential art critics like Clement Greenberg (1909-94), Harold Rosenberg(1906-78) and others, Mark Rothko's monumental works of Abstract Expressionism were largely unknown to the American (or British) public at large. In contrast, almost everyone recognized Elvis, Marilyn Monroe, and numerous other celebrities, as well as the popular foods and other branded products brands that rapidly became the staple subject of Pop-art. Thus from a very early stage, Pop-art declared its intention to reject the elitist character of traditional or high-brow art in favour of populist pictures of wellknown subjects. For most people in the late 1950s and early 1960s, a trip to an art museum entailed a tedious trawl past rows of obscure paintings, most of which were neither understandable nor entertaining. Typically, most famous works (and the artists who created them) could not be appreciated simply by viewing them, but required close study of a museum guidebook. Pop art was instrumental in opening up the world of painting and sculpture to ordinary people who, perhaps for the first time in their lives, could instantly recognize and appreciate the exhibit in front of them. They might not like it, but they were far less likely to feel intimidated by an everyday image they could relate to. In this sense, Popart made museums and galleries more relevant to the general public. Holding the Mirror Up to Society

Unlike Dada, whose entirely negative aim was to subvert and undermine the values of a bourgeois establishment which they blamed for the carnage of World War I, Pop-art sought to reflect the social values and environment from which it sprang. Thus they focused on the preoccupations shared by most American consumers: food, cars and sex. Typically, this was achieved using brash, or satirical, imagery with strong visual impact. And if they were criticized for concerning themselves with such subject matter, they could simply say they were simply (in Shakespeare's words) "holding the mirror up to nature", or in their case "modern society". If nothing else, Pop-art was "the" post-war expression of a world wholly preoccupied the pursuit of materialism. Postmodernist Tendencies Pop-art began in painterly fashion, distinguished mainly by its new range of populist subjects which it hoped would convey a more relevant and up-to-date reality. Thereafter, it gradually became more and more concerned, not with depicting reality (or nature), but with impact, medium and style. Such a trend, which almost always leads to a blurring of the line between art and demonstration - between something of beauty and mere entertainment - is the hallmark of postmodernism. For this reason, Pop-art may be considered the first movement to progress beyond modern art into the contemporary artera. In effect, Pop artists of the 1960s blazed a trail for Photorealism and later Britart and other similar contemporary styles that emerged in the decades that followed. Critics Versus the Public and Collectors Pop-art was often scorned by critics for its low-brow focus. For instance, Harold Rosenberg, one of the most influential critics in the field of contemporary art, described it as being "Like a joke without humour, told over and over again until it begins to sound like a threat... Advertising art which advertises itself as art that hates advertising." In response, one might reasonably ask: With what should art concern itself, if not with the society it comes from? After all, even in the 1960s, one only had to watch television, with its unrelenting barrage of commercials, or drive along streets covered in advertising hoardings, or read glossy magazines packed with repetitive snapshots of music and film stars, to appreciate the intrinsically low-brow focus of modern life. Why should art be any different? More importantly, Pop-art was (and still is) one of the most popular styles of art, which succeeded in getting through to the general public in a way that few modern art movements did - or have done since. And art collectors like it, too. For example, the painting "False Start" (1959) By Jasper Johns sold in 2006, for $80 million: the 9th most expensive work of art in history. (For more, see Top 10 Most Expensive Paintings). The work "Green Car Crash" (1963) (synthetic polymer, silkscreen ink and acrylic on linen) by Andy Warhol sold at Christie's, New York, in 2007, for $71.7 million, making it the 14th highest-priced work of art ever sold. (See Top 20 Most Expensive Paintings). Not bad for a work of low-brow art. During the 2009 recession, an unknown buyer reportedly purchased Andy Warhol's screenprint Eight Elvises (1964) for a whopping $100 million (60.5m) in a private sale, making it the 5th most expensive work of art ever sold.