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Essay / Research Paper Abstract
An 11 page research paper that examines the connection between 3 famous works of pop art and mainstream art and also how pop art differs from its predecessors by celebrating and reveling in modern culture while also subtly addressing its negatives. The writer discusses Roy Lichtenstein, Claes Oldenburg and James Rosenquist. Bibliography lists 11 sources.
Page Count:
11 pages (~225 words per page)
File: D0_khrlcojr.rtf
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Unformatted sample text from the term paper:
Cartoon characters, such as Mickey Mouse and Popeye, appeared in their paintings, as well as consumer products, such as the Campbells Soup cans. This new trend in art was quickly
labeled "Pop," which is a "term first associated with the Independent Group in England" (Foster, et al 445). In many ways, pop art emerged as a "neo-dada manifestation" that declared
"art to be art as a result, not of its inherent value, but of the context selected by the artist" (Fleming 406). As this suggests, pop artists connected their paintings
directly to popular culture. The following discussion of pop art examines this connection. By analyzing three famous works of pop art, this discussion will demonstrate how pop art differs
from its predecessors by celebrating and reveling in modern culture while also subtly addressing its negatives. However, before directly addressing analysis of examples of pop art, it is informative to
understand the way in which pop art relates to art in general. Pop arts relationship to mainstream art Pop art was "roundly condemned" by the critics of the 1960s,
as its "cold surfaces" seemed to parody the "emotive depths of Abstract Expressionist painting" (Foster, et al 445). This fact may be why, in general, reference to "popular arts rarely
includes paintings," which contrasts sharply with the fact that considerable critical "attention has been given to popular music and literature" (Lindauer 64). In his 1968 diatribe against pop art, critic
Henry Winthrop, who agrees with the position taken by Pitirim Sorokin, who equates pop art with decadence, as he sees this form of artistic expression as a direct result of
what he calls "sensate culture" (Winthrop 228). This term refers to culture that is "lacking certain positive and desirable attributes" while exhibiting "certain clear-cut, negative characteristics which are undesirable"
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