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Cara Fiore May 12, 2011 History 498/Kurhajec Revised Final Draft Sixties Art: The Art of Nothing The sixties were the age of youth, where there was a dramatic movement away from the conservative fifties to revolutionary ways of thinking about American values, lifestyles, entertainment, and laws. Terms like groovy and psychedelic were used later to describe the sixties and the counterculture movement. The definition of psychedelic is, a profound sense of intensified sensory perception, sometimes accomplished by severe perceptual distortion and hallucinations and by extreme feelings of either euphoria or despair.
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The term

psychedelic described art, music, and drug experiences, and explained the state of mind that many young people were in as they struggled to accept the society they lived in. It was a turbulent time politically and socially, but it was also a period of excitement. Uncertainty filled the air as young people left their homes to see what life could be like outside their suburban homes with white picket fences. Robert Roskind explains this feeling in Memoirs of an Ex-Hippie , where he gives his personal account of living in a constrictive society. Then he elaborates on how free he felt when he began living an alternative lifestyle, traveling across the country in a bus for seven years beginning in 1968. At the start of his trip, he describes how, The idea of the alienated youth rejecting the values of their culture appeared menacing to many. We were not embracing the system as was expected, but shaking it to its foundation This was not just a march. It was the turning point of the decade. The

David S. Rubin, Psychedelic: Optical and Visionary Art Since the 1960s (San Antonio Museum of Art, 2010), 15.

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social conflicts of the 60s were on vivid display.

The sixties saw radical change in almost every

aspect of American life thanks to the work done by civil rights leaders, feminists, and gay and lesbian advocates. Individuals involved in these movements were no doubt pivotal actors in the making of history in the sixties. However, there has been one actor who has not received as much credit for its contribution: the artist. Sixties artists were equally as radical compared to other radical leaders of the time because of their ability to draw the public s attention to issues that counterculture activists demonstrated against, for example violence, prejudice, hatred, and conformity. For that reason, this essay with demonstrate how the sixties experienced a decadence of new art that propelled the counterculture movement across the United States; influencing all Americans who were willing to observe, to seriously reconsider the values, and norms of society. Psychedelic posters and pop art proved to be an effective persuasive new style of art that offered skeptics of the counterculture movement a visual meaning more efficient than words alone. Counterculture activists were defined as, A group of people who are opposed to some aspects of the established culture in which they live. Historically, they are members of a society who, through education or moral enlightenment, find fault with the government under which they live Counterculture views are not always completely valid, yet they may express an important objective opinion of an established culture that had become jaded or corrupt.3 They exercised disobedience against the established gender roles, war, racial inequality, and consumerism. Artists mirrored these ideas in their work, but in a unique way. Art produced during this time was characterized as being extremely objective, artists claimed that their art

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Robert Roskind, Memoirs of an Ex-Hippie (North Carolina: One Love Press, 2001), 22. John Bassett McCleary, The Hippie Dictionary (Berkeley, California: Ten Speed Press, 2002), 114.

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had no real purpose, and denied having any emotional connection to their work. However, this essay will argue that their artwork was rich with social commentary, encouraged audiences to challenge their personal beliefs, and form new opinions on the demonstrations that were playing out in the streets and on television. Artists began to challenge the viewer to experience art in a new way by making their work less predictable. An example of this was Wes Wilson and his posters that caught the public s attention because of the florescent colors, psychedelic patterns. In addition, Andy Warhol was one of the most popular and influential artists from the time, whose bold art put a spotlight on American issues. Artists were more in tune with current events than they led on because it was impossible to ignore the instability within social norms and the bitterness towards the Vietnam War. As the sixties progressed, artists became more radical, active in politics, and openly supported the counterculture movement. Ultimately, they educated society by making it more aware of the social contradictions and inequalities in America. Therefore, art became an outlet to think critically about one s place in society and break from conformity and conservatism. Susan Sontag was referenced in David Chalmers And the Crooked Places Made Straight by saying, It [art of the 1960s] was based on sensation, not ideas. The theater and the movies which were, along with rock, the prime art forms of the young became sexier, nuder, more political, more violent, and more cruel.
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However, this does not support the main point

of this essay that art did indeed have a central idea that artists were trying to convey. Not to mention, it is more common to first be intrigued by an idea, then feel some sort of emotion or sensation. In addition, art did not become violent, and cruel , even when artists were the
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David Chalmers, And the Crooked Places Made Straight (Baltimore: John Hopkins University, 1991) 96.

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most radical towards the end of the sixties when they were actively participating in politics. Yes however, art became more sexual, but artists were never violent or cruel in their imagery. The current events surrounding the sixties were violent and cruel so artists of the sixties developed new styles of art to show that change was possible and within reach peacefully. In a way, it became optimistic, empowering, and motivating. A significant portion the research that supports these ideas comes from Irving Sanders s American Art of the 1960s and Eliane Elmaleh s American Pop Art and Political Engagement in the 1960s. These resources examined the sometimes-puzzling actions by artists, as well as how they became politically involved. In general, artists are the type of people who contradict themselves sometimes. Probably because part of their job is to experiment so it should be expected that artists may change their mind. An example of this comes from the Elmaleh article. Jasper John was an artist who was opposed to the Vietnam War, and his painting US Flag in Complementary Colors reflected his feelings that it was an unnecessary war. He remained objective by painting just an image of an American flag, but it was radical in how he colored it with instead orange, green, and black. Elmaleh described it as, the political symbolism of the flag, its redundant identification with the letters US, its denatured coloration desecrating the American colours, as well as the presence of black strongly suggested that the country was mutilated and in mourning.
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This

showed how far artists had come, and how they gained the confidence to believe they could enact social change. Irving Sandler discusses how just a few years earlier, To most sixties artists it did not seem that art could be an effective instrument, not to mention a weapon, to

Eliane Elmaleh, Pop Art and Political Engagement in the 1960s European Journal of American Culture 22, no. 3 (2003): 182, Academic Search Premier, EBSCOhost.

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effect social betterment so why bother?

Therefore, it was almost as though artists had

reached their breaking point with the government just as many other Americans did. They were all American citizens who felt some connection to the war, and artists eventually had to ignore the emotional disconnect they had built between themselves and their artwork. Although, before artists became radicals, it is important to understand that there was an extreme separation not involving an artist s personal beliefs in their work, and this was on purpose as a backlash against 1950s art. Before pop and poster art in the sixties, abstract expressionism was the most recognized and practiced art form beginning after World War II. Jackson Pollock led the abstract expressionism movement into the fifties with action painting . This meant that, artists moved across a large canvas spread on the floor and dripped, squirted, and flung paint onto the surface, using such simple instruments as house-painting brushes, meat basters, and trowels. Therefore, artists during the fifties had an intense relationship with their work; viewers could see the artist s emotion and physical outburst on the canvas. Unfortunately, Pollock was a known alcoholic who was killed in a car accident in 1956. After his death, art took a radical change in both technique and attitude.8 The death of Pollock hit the art community extremely hard so artists were distancing themselves from his kind of work as they mourned. It seems as though they were hoping that by taking art in a new direction they would avoid his same tragic end. That explains the reason why artists claimed their art was strictly objective, and they wanted to use mechanical, machine-like techniques. Once this mourning phase ended, and the
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Irving Sandler, American Art of the 1960s (New York: Harper and Row, 1988), 293. Bob Batchelor, "Art in the 1960s." In Pop Culture Universe: Icons, Idols, Ideas. ABC-CLIO, 2010-.. http://popculture2.abc-clio.com.proxy2.library.illinois.edu/. 8 Ibid.

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pop art movement was well-known among other artists, this was when underlying social commentary began. Art was labeled cool art as artists detached themselves from their inner emotions, making their art look radically different from previous decades. Gene Davis remarked that coolness, passivity, and emotional detachment seem to be in the air.
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Similarly, the

technique associated with creating pop art employed a machine-like process, eliminating contact by the artist on canvas. For example, Andy Warhol s technique of silk-screen printing Permitted him to eliminate the personal brushstroke or signature of the artist, to depict the life and images of our time without comment or emotion. Using this technique for mechanical repetition further emphasized his desire to become removed from the creative process. The reason I m painting this way is that I want to be a machine, he claimed.
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Warhol was known

to have a flamboyant and imaginative personality so it was not uncommon to hear outrageous comments from him. More importantly though, this change in art with new techniques and attitude is essential when explaining pop artists as being radicals because these two strategies proved to be effective in displaying American life. According to Elmaleh, To Americans, Pop Art was an artistic manifestation which reflected their own culture. The artists used popular culture as it was transmitted by the media; they showed a preference for stereotypes, clichs and common places connected to the American way of life.
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Art spoke to people more than

ever before, even through its objectivity and the artists ambiguity in their meaning. While, pop art was the most widely recognizable art form coming out of the sixties, artists who designed
Sandler, American Art of the 1960s, 60. Mark M. Johnson, "PRINTS BY ANDY WARHOL." Arts & Activities 120, no. 3 (November 1996): 30, Academic Search Premier, EBSCOhost. 11 Eliane Elmaleh, Pop Art and Political Engagement in the 1960s 181.
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posters were equally as important when going against the norm and following the counterculture movement. Posters were an important form of art because they were mass-produced, and served as an advertisement for psychedelic art. Typically, posters in history have been associated with propaganda because of its ability to communicate information to a country quickly. For example according to Sandler in Art of the Postmodern Era, the Constructivism movement, which was a Russian artistic movement that favored art facilitated toward social change, rejected traditional paintings because they were inadequate as revolutionary tool . Instead, photography, film, typography, and poster design were employed because of its propaganda qualities. However, the Russian people did not appreciate their abstract art at the time, and neither did Stalin when he rose to power, so he suppressed the movement in 1922.12 This just showed how influential posters could be because they made a graphic statement with eyecatching details. Furthermore, that was why posters were effective in the 1960s to introduce the youth of America to the music scene. During the 1960s music and art were closely associated with the counterculture movement and youth culture. For this reason, creative posters and album covers grew increasingly more important to draw crowds to concerts to raise cultural awareness. Folk and rock musicians, all gave running commentary through their inspired songs, improvised guitar riffs, and politicized lyrics that augmented an omnipresent revolutionary fervor.
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Soon artists

were needed to make posters and album covers to publicize these events by branching out of

Irving Sander, Art of the Postmodern Era: From the Late 1960s to the Early 1990s (New York: HarperCollins, 1996), 336. 13 David S. Rubin, Psychedelic, 42.

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the San Francisco music hub, and reach young kids all across America. Wes Wilson was one artist who gained popularity for his work with Bill Graham and the famous Fillmore Auditorium. Graham was the most influential music promoter for the Fillmore, and he would go on to work with the Rolling Stones, Bob Dylan, and Live Aid. 14 In addition, the Fillmore Auditorium was, a revolutionary rock concert hall in San Francisco sought after by all musicians to perform. 15 Wilson became famous for introducing, what is today known as, psychedelic typography to rock posters, as seen in his posters for Grateful Dead, Otis Rush Chicago Blues Band, and Canned Heat Blues Band (left) and Jefferson Airplane, Butterfield Blues Band, and Muddy Waters (right) who performed at the Fillmore.

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Bands who played at Fillmore, for example, the Grateful Dead and Jefferson Airplane were, Well stocked with electric musical instruments, and elaborate state of the art amplification systems, playing against a backdrop of strobe lights, colored light shows, and enlarged

John Bassett McCleary, The Hippie Dictionary, 218. Ibid, 179. 16 Wes Wilson, BG-51, http://www.wes-wilson.com/?page_id=795, 1976. 17 Wes Wilson, BG-29-OP-2, http://www.wes-wilson.com/?page_id=795, 1966.
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photographic images displayed by multiple slide projectors.

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Therefore, it was inevitable that

the posters promoting them would reflect their style of music. Music and art go hand-in-hand when discussing the counterculture movement because they needed each other to keep their momentum and continue to gain popularity in support of societal change. Art of sixties was constantly evolving to reflect the changing viewpoints on social norms and current events so posters were no different. Artists had the desire to stay away from conventional and existing art. The sixties was a time of change, and art needed to change as well. Art of the sixties was different because artists made, a shift from psychology to physicality, from subjectivity to objectivity, from interpretation to presentation, from symbol to sign to seeing things as they literally are and saying it like it is, a catchphrase of the sixties.
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Wilson s posters reflected this change in society based on his imagery of women in his posters. He remained objective because, yes, it was just a woman, but she was sensual, she appeared powerful, and free. Usually they were nude, and people could argue his posters were just that, a poster advertising a band by putting a naked woman to grab people s attention. However, since artists were so objective with their work, that only made commentary inevitable. By saying that they were saying nothing, they were in reality saying a lot about American society. This was Wilson s radical underlying message of the poster to glorify women by showing that by joining this counterculture movement, more women can feel liberated. He showed the sensual side of women, and how it could be acceptable to be a sexual person. Specifically, in the fifties, people had to suppress their natural urges because that was not the social norm to

Nadya Zimmerman, Counterculture Kaleidoscope: Musical and Cultural Perspective on the Late Sixties San Francisco (Ann Arbor: The University of Michigan Press, 2008), 96. 19 Sandler, American Art of the 1960s, 61.

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be overtly sexual, especially for women. Some might argue that Wilson shed a negative light on women in his posters by making them sex objects, but he really just reflected how women were questioning their role in society. Consequently, Wilson could be viewed as a radical because he centered his work around relevant societal issues like gender roles. Counterculture advocates demonstrated for more equality between men and women, and Wilson s posters were applicable resources in support of their cause. Even though his job was just to promote rock band he still made a major contribution to the counterculture movement by using women as a subject. Poster art may have been a lower quality of art, but it was still effective at communicating a message to a wide audience. Rock posters were also crucial to the counterculture movement because they created a collaboration between the music and art world that would ultimately bring more people together to support one cause. It even gained more creditability by becoming acknowledged by higher art artists, like Andy Warhol. Andy Warhol was arguably the most famous, and outspoken artists during the 1960s. Warhol was a printmaker, filmmaker, and manager of the rock band Velvet Underground. He was considered a radical because he was a walking contradiction. More than any other artist, he contradicted himself when he spoke about his work. He like most pop artists, claimed that he distanced himself from his work, but he his over the top personality toppled the message of artists not drawing attention to themselves. Bob Batchelor explains Warhol s eccentric behavior and how that influenced his work because, his images, such as Big Campbell's Soup

Can (1962), became instantly recognizable, but none as much as his own image, topped by his bleached blond hair. He contributed to his fame with many self-portraits, associations with the rich and famous, and flamboyant behavior. He famously claimed that everyone would be

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famous for 15 minutes, but far exceeded that for himself.

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This demonstrated how Warhol

was a radical who separated himself from other pop artists by interacting more with his audience. His personality was not cold or detached, which made him an influential figure to follow because he kept his audience in suspense with what his next work would be, or what outlandish thing he would say next. Having a charismatic and interesting figure or leader like this is important for any radical movement in order to bring attention to the cause, and draw more people into the movement. Warhol was efficient at bring attention to the counterculture movement because his silk screen process allowed him to use a stencil and quickly make copies, similar to posters just not printed to the same extent. He was also a radical because he had the ability to take mundane, everyday objects like soup cans, soda bottles, dollar bills, and make a bold statement. Some of his more recognizable prints that contributed to the counterculture movement that this essay will discuss includes Race Riot and 100 Soup Cans. These prints specifically dealt with race and consumerism, which were topics that counterculture advocates fought hard to change these issues, and break from the norm that existed in the country. This kind of art was perfect for the viewing pleasure of average Americans because Warhol used objects that they were familiar with and displayed events that most people had seen from the media, or saw for themselves the many social injustices. The artwork became relevant and people could relate to the artist s message because they too had lived through it. First, Warhol s Race Riot was radical because it raised awareness of the civil rights movement. Race inequality was a serious issue that plagued the country for far too long, and for the first time the majority of the population was questioning their government and each
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Batchelor, "Art in the 1960s".

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other what was fair, just, and equal. As a result, this print became a tool that people could use to think about and reflect what was right, and what should be done to rectify this problem. Even though Warhol experienced difficulties throughout his life, his art still illustrated a hopeful and positive outlook for America s future. He argued, Pop is a re-enlistment in the world. It is shuck the Bomb. It is the American Dream, optimistic, generous, and nave. Pop is love in that it accepts all the meaner aspects of life. It is the American Myth. For this is the best of all possible worlds.
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His Race Riot print was an example to show how pop art was an effective

medium to help raise awareness by showing the meaner aspects of life .

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This particular image was constructive to the counterculture movement because it was another case in point that illustrated the mistreatment of African Americans, and why equality was essential. He printed these images in black and white or red and black, which this splash of color made a huge impact. Elmaleh explains this significance, By adding only one colour, red for Red Race Riots, Warhol recalled the tragic outcome of the Watts riots. The artist s political

Sandler, American Art of the 1960s, 151. Andy Warhol, Race Riot. In Movements in Art Since 1945 by Edward Lucie-Smith, 160. New York: Thanes and Hudson, 1964.
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commitment seemed clear: Warhol stressed the tragic side of the event, denouncing the police repression and showing solidarity with the protesters.
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This was a pivotal moment in pop art

because he was becoming more vocal through his art about his support of the counterculture movement and Civil Rights Movement. It was also a departure from an important defining quality in the pop art movement. Television and newspapers were the standard for learning about these kinds of events, but Warhol proved that art could be a valuable resource as well. The art of depicting objects was another one of Warhol s strengths. Objectivity was a major defining characteristic of the sixties, and Warhol did this flawlessly. Similar to many artists of the time, Warhol claimed there was nothing to his prints and, What you saw was what you saw. Nothing more, nothing deeper, nothing other.
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However, here Warhol was

playing as devil s advocate because there really was a heavy, deep meaning in all his painting. By saying that there was not anything, would make people speculate even more. For example, consider his 100 Soup Cans print,

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Eliane Elmaleh, Pop Art and Political Engagement in the 1960s 184. Sandler, American Art of the 1960s, 61. 25 Andy Warhol, 100 Soup Cans. In Pop Art Redefined by John Russell and Suzi Gablik, 150. New York: Frederick A. Praeger, 1962.
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Objectively, it is just Campbell s Soup replicated one hundred times, but there really is more to it. There is an underlying message about consumerism and the middle class in this print. The interest in material things began in fifties when, an economic boom accompanied by an unprecedented growth of the mass media, notably television, whose primary function it was to advertise the plethora of mass-produced goods. Naturally, there developed a widespread interest in the field of communication.
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Campbell s Soup was a large company that has been

around since 1869 so participating in advertisement helped them continue to grow. The company was and still is associated with selling an inexpensive product to satisfy busy Americans. Therefore, this product was aimed specifically at middle class America, which Warhol picked up on. As a result, this print is a reflection of the conformity that the middle class submitted to, without really knowing it. First, it is just soup, but then it expands to other products they have in their home, what they wear, and how they act. So this print was arguably undermining the idea of the American dream, and how it really was not a dream to have anymore. Going against the norm and conformity was a major case demonstrated by the counterculture movement, and this was yet another example of how artists secretly showed their support. Andy Warhol was just one example of how the artist could be sly about making social commentary on American society, but as the sixties progressed, more artists became even more radical. Artists became more radical towards the end of the sixties because of their new sense of political involvement being acceptable. However, an important distinction needed to be made, even though they became more politically involved, it did not reflect in their work.
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Sandler, American Art of the 1960s, 147.

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Artists continued to stay disconnected from their work to continue the idea of cold art . For example, An artist might burn his draft card or smoke pot and listen to rock music (and many sixties artists did), become a disciple of some Eastern guru, participate in polymorphous sex, or even use heavy drugs and not reveal any of these practices in his or her work.
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Artists kept

their personal life separate from their professorial life so that they did not interfere with the relationship that was established between artist and viewer. They were different from other radical leaders because they did not explicitly tell people what to think or what to do. It would be a more profound experience for the viewer, if they came to the same conclusions as the artist on their own. This was important because it allowed Americans to really think critically and analyze the society they lived in. Before 1966, artists did not have an interest of getting involved with politics because they never believed it was their place to intervene. Elmaleh described how, As the 1960s progressed, with their series of political assassinations, the escalation of the Vietnam War, the confrontation with Cuba and the Civil Rights Movement, American artists, like many intellectuals, felt the need to take sides.
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These events made artists realize that their voice

was important and people would listen to them too. Edward Kienholz, Peter Saul, Leon Golub, and Nancy Spero were all artists who felt deeply moved by society s problems, and broke the rule of cold art . These artists and many others became committed to going public about how they opposed the Vietnam War. So a group of them, including the famous Roy Lichtenstein, decided to erect The Artist Protest Tower in Los Angeles. The tower grew to be eighteen yards

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Sandler, American Art of the 1960s, 293. Eliane Elmaleh, Pop Art and Political Engagement in the 1960s 184.

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high and quickly grabbed the media s attention. When the tower was completed, it was just as quickly taken down, all paintings and works of art that made up the tower were auctioned, and the money was given to the Civil Rights and Peace Movements.29 This was another of example of artists growing radicalism as they became more politically engaged. However, their political involvement was not well received by museum officials who had ultimate control over who could see their art. Museums during the 1960s even proved to be a place that discriminated against sex, race, and did not allow artists to display works of art with political statements that were not patriotic. As a result, artists were fed up with the lack of communication and consultation between museum officials and the artists. The Art Workers Coalition (AWC) was formed in 1968 to negotiate with museums in favor of improving how artists were treated, as well as their art. AWC composed a list of thirteen points that they wanted to bring before museum officials at the Museum of Modern to have changed. The points demanded the liberation of women artists (and women generally), black artists, Puerto Rican artists, greater attention given to the cultural life of the ghetto and neighborhood art centers, and allowing anti-war artwork in museums. Another major point they advocated for, was the establishment of a wing for black artists that showed their accomplishments.30 On September 30, 1969 AWC members meet with museum officials to discuss their demands. However, little was accomplished because the museum refused to compromise on the points or give them a wing for black artists. By May 18, 1970 two thousand organizers decided to organize an Artists Strike Against Racism, Sexism, Repression, and War, whose purpose was to close down all New York galleries and museums
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Eliane Elmaleh, Pop Art and Political Engagement in the 1960s 182. Sandler, American Art of the 1960s, 289-299.

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for one day. Artists and supporters had reached a breaking point after the invasion of Cambodia and the killing of four students at Kent State University. To keep the movement s strength, organizers decided to protest as one large group at a museum for a day. Each day they would demonstrate at a different museum, for a total of five days. The strike went as planned, peacefully with three hundred organizers, however, little was accomplished. This would be AWC s last major anti-war demonstration. In conclusion, artists made a significant impact on American society during the 1960s. First, poster art and music were brought together to promote gender equality for women through the counterculture movement. Wes Wilson s designs brought posters to a new sophistication by interpreting how women were perceived in the counterculture movement as being sensual and powerful beings. More importantly, Andy Warhol became a major figure in the pop art scene by his depiction of commercial objects and the civil rights movement. More artists became more radical as the decade came to close by publically expressing their political views. Even though they were not successful right away at improving relationships between artists and museum officials, they still brought light to the issue by demonstrating its flaws within the system. Therefore, artists proved to be a radical proponent for social change, even when they had nothing at stake, besides their involvement with museum officials. Artists were never oppressed the same way compared to African Americans, women, or gay and lesbian couples in the sixties, unless they were participants in the movement. They still made a bold step by calling for social change because it was morally right. Even though they claimed nothing was there, we can all now call their bluff.

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Bibliography
Beaty, Bart. "Roy Lichtenstein's Tears: Art vs. Pop in American Culture." Canadian Review of American Studies 34, no. 3 (October 2004): 249-268. Academic Search Premier, EBSCOhost (accessed May 11, 2011).

Chalmers, David. And the Crooked Places Made Straight. Baltimore: John Hopkins University, 1991. Elmaleh, Eliane. American Pop Art and political engagement in the 1960s. European Journal of American Culture 22, no. 3 (October 2003): 181-191. Academic Search Premier, EBSCOhost (accessed May 11, 2011). Gablik, Suzi and John Russell. Pop Art Redefined. New York: Frederick A. Praeger, 1969. Johnson, Mark M. "PRINTS BY ANDY WARHOL." Arts & Activities 120, no. 3 (November 1996): 29. Academic Search Premier, EBSCOhost (accessed May 11, 2011). Lucie-Smith, Edward. In Movements in Art Since 1945. New York: Thanes and Hudson, 1995. McCleary John Bassett. The Hippie Dictionary. Berkeley, California: Ten Speed Press, 2002. Roskind, Robert. Memoirs of an Ex-Hippie. North Carolina: One Love Press, 2001. Rubin, David S. Psychedelic: Optical and Visionary Art since the 1960s. San Antonio Museum of Art, 2010. Sandler, Irving. American Art of the 1960s. New York: Harper and Row, 1988.

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Sanlder, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s. New York: HarperCollins, 1996. Wilson, Wes. Wes Wilson s Posters. http://www.wes-wilson.com/?page_id=795. Zimmerman, Nadya. Counterculture Kaleidoscope: Musical and Cultural Perspective on the Late Sixties San Francisco. Ann Arbor: The University of Michigan Press, 2008.

Notes on Revision: I took into account pretty much all of your comments and Emma s because they were pretty much the same. I tried to be more concise and explain my thought process for how artists were radicals. I took out some chunks of my paper from the last revision that I thought weren t really relevant to my thesis. It s pretty much the same length, I think I did a better job at explaining my argument and staying on track. I did take you advice on moving my thesis to earlier in my introduction. I m just used to putting my thesis as the last sentence of my introduction, but hopefully it is more clear what I am trying to prove. I also tried to limit my Sandler evidence As I was writing the previous version I knew that I was referencing him A LOT, but his one book, American Art of the 1960s just had so much useful detail that I thought was relevant to my paper. So this time, I tried to cut out some of that evidence, even though it was really hard because I liked all of it so much, and I found another article by Eliane Elmaleh who talked about their political involvement, even though she never called them radicals. So hopefully everything is more clear and concise.

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