Pop Art, Consumer Culture and Mass Production

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Art Mass Production

The use of art in the modern era has turned from the classical narrative of religions being the dominant focal point to media and mass production . With this shift of venue , the artists who make up Pop art and realistic art have incorporated into their pieces the idea of mass produced art , or at least a reflection of this mass production and media centered concept that has been prevalent in Pop art and modern art . The following will

examine Pop art , and modern art in these four artists : Andy Warhol , Richard Hamilton , Roy Lichtenstein and David LaChapelle . The wave of Pop art could not have been made possible if it had not have been for Dadaists , and Pop art would not have continued its mass market reiteration of icons if it had not been for fashion photography , therefore , Dadaism , and fashion photography will also be given sections in this dissertation

Pop Art 's Purpose

Pop art came at a time during the late 1950 's and for the most part it happened in America and England . Pop Art has its roots in London , post World War II . There were a group of artists as well as intellectuals philosophers , and who were enthralled with the way American culture through mass media was engulfing British ways of life . The point of Pop art was the rediscovery of the purpose of art , or rather the persuasion of art to not always adhere to what others thought of as beautifu . Thus , Pop art ingrained in its definition a relationship between the artist and the audience since the artist 's intentions was to make art that perhaps allowed the viewer to see what they were taking for granted , and for the artists part in this art movement , Pop art allowed them to see beyond the typical art of color on a surface and to scratch or paint beneath that surface , to do more than mix colors for a color palette as Maurice Denise stated . Thus Pop art make accolades in its consideration of the image or the focal point of the art wanting to be recognized

Pop art goes beyond the representational intrinsic nature of art and as Janson states , .then modern movement , from Pollock to Manet , was based on a fallacy , no matter how impressive its achievements Painting , it seemed , had been on a kind of voluntary starvation diet for the past hundred years , feeding upon itself rather than on the world around us . It was time to give in to the `image-hunger ' thus built up-a hunger from which the public at large had never suffered , since its demand for images was abundantly supplied by photography , advertising magazine illustrations , and comic strips (Janson 832 . Therefore , the products of this time period , the overly commercialized products such as icons , Campbell soup , and others became the target and muse of these artists

The taste for commercial art had begun . The point of...