Roy Lichtenstein Roy Fox Lichtenstein (pronounced /ˈlɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the basic premise of pop art through parody.[2] Favoring the comic strip as his main inspiration, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting".[3] His paintings were exhibited at the Leo Castelli Gallery in New York City. Whaam! Early years[edit] Career[edit] Cap de Barcelona, sculpture, mixed media, Barcelona Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post he held on and off for the next ten years. Later work[edit]
Andy Warhol on artnet Andy Warhol was a leading figure in the Pop Art movement. Like his contemporaries Roy Lichtenstein and Robert Rauschenberg, Warhol responded to mass-media culture of the 1960s. His silkscreens of cultural and consumer icons—including Marilyn Monroe, Elizabeth Taylor, Campbell’s Soup Cans, and Brillo Boxes—would make him one of the most famous artists of his generation. “The best thing about a picture is that it never changes, even when the people in it do,” he once explained. Born Andrew Warhola on August 6, 1928 in Pittsburgh, PA, he graduated from the Carnegie Institute of Technology in 1949. Moving to New York to pursue a career in commercial illustration, the young artist worked for magazine such as Vogue and Glamour.
List of most expensive paintings Background[edit] The world's most famous paintings, especially old master works done before 1803, are generally owned or held at museums, for viewing for patrons. The museums very rarely sell them, and as such, they are quite literally priceless. Guinness World Records lists the Mona Lisa as having the highest insurance value for a painting in history. It was assessed at US$100 million on December 14, 1962, before the painting toured the United States for several months. However, the Louvre chose to spend the money that would have been spent on the insurance premium on security instead. Van Gogh and Picasso[edit] Vincent van Gogh and Pablo Picasso are by far the best represented artists in the list. List of highest prices paid at auctions or private sales (inflation adjusted)[edit] This list is ordered by consumer price index inflation-adjusted value[note 1] (in bold) in millions of September 2013 United States dollars. See also[edit] Notes[edit] Jump up ^ Using the U.S. References[edit]
Jasper Johns Detail of Flag (1954-55). Museum of Modern Art, New York City. This image illustrates Johns' early technique of painting with thick, dripping encaustic over a collage made from found materials such as newspaper. This rough method of construction is rarely visible in photographic reproductions of his work. Jasper Johns, Jr. (born May 15, 1930) is an American contemporary artist who works primarily in painting and printmaking. Life[edit] Born in Augusta, Georgia, Jasper Johns spent his early life in Allendale, South Carolina, with his paternal grandparents after his parents' marriage failed. Johns studied a total of three semesters at the University of South Carolina, from 1947 to 1948.[2] He then moved to New York City and studied briefly at the Parsons School of Design in 1949.[2] In 1952 and 1953 he was stationed in Sendai, Japan during the Korean War.[2] In 1954, after returning to New York, Johns met Robert Rauschenberg and they became long-term lovers. Work[edit] Painting[edit] Notes
museum archives collection 138 of Andy Warhol's 610 Time Capsules at The Andy Warhol Museum, Pittsburgh The archives are part of the artist's life work and the greatest single collection of ephemera documenting the diverse worlds in which Warhol was active. The collection consists of over 8,000 cubic feet of material – perhaps half a million objects – and functions as an integral part of The Warhol Museum, along with his paintings, films, video work, sculpture and graphic art. The keystone of the archives collection is Warhol's Time Capsules. We are still cataloguing this vast amount of primary research material, and will soon be filling our collection database with thousands of searchable records. Warhol's archives are closed to researchers and the public during a re-organization of the physical workspaces and collection storage areas. interactive feature:
Selected Work. | Paul Jarvis I am currently booked until September, 2014. Here are a couple of the people and companies that I've had the honour of collaborating with so far: The Boyfriend Log / Learnwise / Karl Schoemer / Dave Ursillo / Alexandra Franzen / Sarah Selecky / Michelle Pfennighaus / Dyana Valentine / Justine Musk / Jessica Ainscough / Linda Sivertsen / Caren Baginski / Shelby Edwards / Natalie Rousseau / Surf Sister / The Highline / Laura Staton Read more about how and why I work in my manifesto. Strategy, design, development and launch of a custom, mobile-friendly WordPress website. “Paul has built about a dozen sites for me over that last decade.
Neo-Dada Neo-Dada is a minor audio and visual art movement that has similarities in method or intent to earlier Dada artwork. While it revived some of the objectives of dada, it put "emphasis on the importance of the work of art produced rather than on the concept generating the work".[1] It is the foundation of Fluxus, Pop Art and Nouveau réalisme.[2] Neo-Dada is exemplified by its use of modern materials, popular imagery, and absurdist contrast. It also patently denies traditional concepts of aesthetics. The term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to a group of artwork created in that and the preceding decade. See also[edit] Anti-art [edit] Jump up ^ "neo-dada". References[edit] Susan Hapgood, Neo-Dada: Redefining Art, 1958-62.
The Age of the Essay September 2004 Remember the essays you had to write in high school? Topic sentence, introductory paragraph, supporting paragraphs, conclusion. Oy. Mods The most obvious difference between real essays and the things one has to write in school is that real essays are not exclusively about English literature. With the result that writing is made to seem boring and pointless. How did things get this way? During this period the study of ancient texts acquired great prestige. The time was then ripe for the question: if the study of ancient texts is a valid field for scholarship, why not modern texts? And so began the study of modern literature. What tipped the scales, at least in the US, seems to have been the idea that professors should do research as well as teach. Writing was one of the casualties. And so in the late 19th century the teaching of writing was inherited by English professors. High schools imitate universities. No Defense At the very least I must have explained something badly.
stating the obvious :: Stories and Tools :: Apr 15 2002 Stories and Tools Apr 15, 2002 :: The current World Wide Web consists almost entirely of pages that are either stories or tools. A few ambitious sites combine these two types of pages in varying ratios, with results that range from unsatisfying to disastrous. But the next stage of the web is going to come from the native form that evolves from, and incorporates elements of, these two existing structures. Even after this form emerges, however, the web will still be populated with plenty of stories and tools, of course, just as television retained the idiom of an anchor at a desk authoritatively reading us the news, even after the invention of the situation comedy and the game show. If you take a look at the pages we have today, one thing becomes clear: Stories on the web just plain work. This brings us to the other kind of web page, the kind that just plain doesn't fit into how the web was envisioned: tools. That’s not surprising; they're not supposed to. Think of Hotmail. A Way Out?
Pop art Pop art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United States.[1] Pop art presented a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc. In pop art, material is sometimes visually removed from its known context, isolated, and/or combined with unrelated material.[1][2] The concept of pop art refers not as much to the art itself as to the attitudes that led to it.[2] Pop art employs aspects of mass culture, such as advertising, comic books and mundane cultural objects. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them.[3] And due to its utilization of found objects and images it is similar to Dada. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of Post-modern Art themselves.[4] §Origins[edit] Eduardo Paolozzi. §United States[edit]