Pop Art Research Articles

Sculpting Civilizations: The Influence of Artwork in the Maintenance of Ancient Cities

The role of art in the development of urban life is an important topic relating to communication, creativity, and the Great Traditions of urbanism. Art is a necessary way to communicate ideals and traditions; for example, stained glass in orthodox churches is used as an alternative to the Bible to teach the illiterate the stories about orthodox religion. Trends in art forms, styles, and subject could indicate a lot about urban values and how these values change over time as cities develop. This free range of expression gives insight into what city populations valued. Styles reveal how conservative a community is, or what mindsets and way of thinking people have. For instance, abstract styles tell us about the more scattered ways people approach issues and themes, while something like pop art can tell us about the value of cultural revolution and a progressive mindset. Art, particularly public art, illuminates political ideologies, inequalities, public consciousness, narratives, and religions. The study of urban art can also simply help us visualize and recreate what experiencing a city is like in the viewpoint of the citizens living there. Through a close analysis of the impact of artwork in Ancient Egypt and Ancient China, we can see which famous theories on the development on ancient cities can be applied to explain the role of art in its maintenance.

Contextualizing the voice of a female pop artist: Western music and Indian modernity

ABSTRACT Dubbed a ‘fusion pioneer’, Asha Puthli straddled multiple cultural mediums and created an alternative niche for herself as a global performer. By charting her trajectory as a musician, the genres that influenced her, the rise and proliferation of her music in relation to the cultural landscape of India during that period, this paper, which is structured around an interview with her, tries to understand what made her different from her contemporaries. How did her Indian roots supplement her in navigating the global music arena? Did she, as a female performer singing Western music challenge entrenched notions of femininity in India? By situating her as a performer who blurred boundaries and opened avenues of alternative resistance to set cultural patrimonies, her global presence and its impact on the Indian music scene are discussed, contextualising her work in the cultural ecosystem of India as it embraced modernity, inscribing Puthli as a hidden pop icon of the 70s.

Reflections on Art in the Age of Mechanical Reproduction: Warhol and Baudrillard in Dialogue

At the beginning of the 20th century, the Industrial Revolution promoted the invention and application of modern mechanical products. The rapid development of productivity led to a speedy improvement in the material standard of living and a surplus of material goods, but the problem of "depersonalisation" arose as individuals gradually lost their sense of satisfaction and individuality in the same mechanised work. The Pop artist Andy Warhol reflected on this era of mechanisation through the reproduction and imitation of forms, initiating his discourse and reflection on the industrial age. A century later, French philosopher Jean Baudrillard put forward the concept of "Simulacra", pointing out that in the information technology and consumer society, the media, such as television, advertisements and the Internet, create a large number of virtual images and information, blurring the boundaries between the reality and the fiction, so that people gradually lose their sense of authenticity and personality in the "Simulacra". This paper will analyse the roots of Warhol's ideological evolution from the individual to the times through the understanding of Warhol's self-description as well as the social activities and values of the time, and use Baudrillard's "Simulacra" and "Surrealism" to explain why Pop Art has transgenerational significance and the exploration of public values it opens up.

Research on the Relationship Between Technology and Art

With the development of technology, the maturity of AI technology has enabled most people to experience artistic creation. In this way, the relationship between art and technology has become a hot topic in academia. This paper examines the intricate relationship between technology and art, focusing on their mutual influence. Using literature reading and analysis, the study explores the advantages and challenges of integrating technology with art. This article will explore from the following three perspectives: First, the impact of camera technology on impressionism; Second, the influence of industrialization on pop art; Third, the use of artificial intelligence in modern art. From these three angles, it can be seen that art and technology are mutually reinforcing. Technology drives the innovation of art, and in turn, art promotes the iteration of technology.

Research on the Relationship Between Technology and Art

With the development of technology, the maturity of AI technology has enabled most people to experience artistic creation. In this way, the relationship between art and technology has become a hot topic in academia. This paper examines the intricate relationship between technology and art, focusing on their mutual influence. Using literature reading and analysis, the study explores the advantages and challenges of integrating technology with art. This article will explore from the following three perspectives: First, the impact of camera technology on impressionism; Second, the influence of industrialization on pop art; Third, the use of artificial intelligence in modern art. From these three angles, it can be seen that art and technology are mutually reinforcing. Technology drives the innovation of art, and in turn, art promotes the iteration of technology.

Racism Learnt and Unlearnt

For centuries, Africans migrated to India in different phases resulting in a significant presence of the African diaspora in this country. The term “African diaspora” gained currency only in the mid-nineteenth century in connection with the study of the people of African origin dispersed all over the world. But in countries like India, the African presence dates as far back as the period of the Indian Ocean slave trade. Historically, India and Africa have shared cordial political and economic relations. Their shared history of anti-colonial struggle, the mutual reverence for political leaders like Mahatma Gandhi and Nelson Mandela, and India’s support for postapartheid South Africa might indicate the peaceful coexistence of Indians and Africans in present-day India. But the on the ground reality hits differently, as depicted in “The Shade of You” by Anushree Majumdar, published in Eleven Ways to Love: Essays by Penguin India. Majumdar thinks herself a modern and enlightened woman until she gets into a relationship with Bryan Ochieng, a Kenyan studying in Delhi. As she gradually explores her relationship with Bryan, she comes to know about different aspects of racism that the African diaspora faces in Delhi in a more intimate way. Getting mocked and ridiculed for dating a black man in the public space makes her critique the racist attitude of her fellow Delhiites. She realizes that Indians have deeply internalized the colonial legacy of racism and colorism. She understands that, since our very childhood, we embrace a culture informed by racist ideology unconsciously. Indians are satisfied with the tokenist acceptance of black culture by celebrating black footballers and pop artists, but they would never let African diasporic people come closer as family and friends. This mindset has sufficiently exoticized and otherized Africans in India. Her proximity to Bryan reveals to her how ignorant she has been about Bryan’s culture despite her love of selective parts of Kenyan culture. The presence of Bryan and his Kenyan friends in her life offers her moments of self-reflexivity. She comes to question how much she has been able to unlearn her racial prejudices, and the answer forces her to confront an aspect of her race–intolerant subjectivity so far buried under her conscious race-sensitive self. Her self-realization makes her feel uncomfortable and apologetic. She feels that the self-realization that has dawned upon her is not enough to help her in the unlearning process overnight. She fails to maintain a long-term relationship with Bryan given their seemingly unbridgeable cultural gap at that point in time. But Bryan’s entry into her life marks the beginning of her anti-racism journey in the true sense of the term and it continues. Years later, she finds that she has become a better version of herself who is no longer troubled by the hidden guilt and shame associated with her relationship with an African.

Autobiographical motifs in the "silent books" of contemporary Chinese artists (using the example of Sean Tan and Guojin)

The object of the study is “silent books” – books without text; the plot and author’s position are revealed exclusively through a sequential series of illustrations. The subject of the study is the graphic novels of young but already internationally recognized authors – Sean Tan and Guojin. "Silent books" are a relatively new direction in children's book illustration. The prototype of “silent books” – comics – was distinguished by rather primitive graphics, so although they were popular, but they were considered a “low genre” in the professional community. Then the comic went beyond kitsch culture and became an element of middle-class culture, and at the end of the century the comic was reinterpreted in pop art and included in the formation of neo-elite culture. The individuality of the authors is manifested in the choice of a plot related to personal and family history, as well as in the choice of a character of a certain psychological make-up – “silent heroes”, endowed with a rich imagination, the ability to empathize and equal friendly relationships. The technique in the “silent books” of Sean Tan and Guojin has the syncretism and dualism of Western and Chinese traditions. It can be interpreted both in terms of Chinese writing with “dry” ink, and in the European style of “chiaroscuro”; in all cases we had clearly defined contour and a sharp contrast of light and shadow. The author's self-expression in a graphic novel is very specific to book illustration. “The Quiet Book” can be considered as a special type of author’s utterance, similar to improperly direct speech in literature. All this distinguishes the graphic novels under consideration from other forms of children's book illustration, as an example of new paths in art, as well as an original and modern interpretation of social problems of society.

Development of the technique of forming the professionalism of a pop artist: Vocal discourse

Pop vocals play a significant role in today’s music industry and cultural environment. The pop style of singing has become extremely popular among young people, which determines the relevance of studying the methods of teaching pop vocals, which is characterized by technical features, emotional expression and the use of specific artistic techniques. The purpose of this study is to study effective approaches and create the own methods of teaching pop vocals, in particular, the formation of vocal qualities, to support and develop the potential of young performers. The analytical method, typological approach and generalization were used in the research work. As a result of the research, the key aspects and factors influencing the successful adaptation of young performers to the pop style of singing were revealed. As a result of the scientific work, it was established the importance of systematic classes and vocal practice for achieving a high level of vocal skill. As a result of the research work, it was possible to develop a method of teaching pop vocals, aimed at the effective formation of vocal qualities in young performers. This technique took into account the key aspects and factors influencing the successful adaptation of young performers to the pop style of singing. The developed method of teaching pop vocals can be used as a basis for the systematic and step-by-step development of vocal abilities of young performers. It is aimed at improving voice quality, control of performance technique, musical interpretation and stage presentation. The obtained work results can be used to improve approaches to teaching pop vocals and developing musical talents in young performers. This research can serve as a basis for further research and development in the field of pop singing and music pedagogy.

Personal Storyworlds

By combining perspectives from transmedial narratology and musicology, this article explores how the notion of a “personal storyworld” can offer new opportunities for understanding the transmedial processes whereby pop artists’ personas are continually (re-)constructed and (re-)negotiated through and across myriad points of contact between artists and audiences. Emphasis is placed on the performative potential of audiovisual aesthetics and public posturing, on the one hand, and on audiences’ interpretive flexibility, on the other. These related themes are addressed through a case study of an artist who aptly exemplifies the continual transfiguration of pop personas, namely Justin Bieber. The main part of the case study concerns how Bieber’s sixth studio album, Justice (2021), and associated material (music videos, live performances, interviews, promotional material, social media posts) related to and formed part of his broader personal storyworld. This sets up an exploration of how the dynamics between retrospection and reinvention shape the reframing of personas, which raises a series of questions concerning the dialectic between continuity and change, artist-audience dynamics, and transmedial processes of interpretation.

Strategi Experiental Marketing Akal Production Pada Event Loal Museum Melalui Media Sosial TikTok

This Final Project Report is an application of project-based curriculum or other forms compiled based on the author's experience while making projects at Akal Production company as an event organizer located in Padang City. While in the company, the author created a unique event project that has never existed in Padang City, namely an interactive museum that emphasizes visual creativity. Loal Museum is a project idea created so that the citizens of Padang have a new place of art, entertainment and recreation. The event was held for 1 full month located in Fabriec Block, Parupuk Tabing. This event carries the theme Galaxy Pop Art by using the #MagicExperienceOfLoal campaign. Loal Museum has several rides whose purpose is to provide direct experience to visitors. In addition, the author who is part of Akal Production as Chief Of Admin and Social Media to manage the promotion of this event so that it has many enthusiasts and visitors who come every day of the month. This Experiental Marketing strategy is carried out through TikTok and Instagram social media. This strategy is used to create an interesting experience to make this event viral and known by many people is through TikTok social media. Through the experiental marketing strategy, many visitors come through their curiosity and experience firsthand the experiences that many other visitors have felt. The obstacle that the author faced when running thisLoal Musem project was the many communication errors that occurred.

Aethetic employment of pop art in television advertising

يعد أسلوب فن البوب آرت هو واحد من الاساليب التي اتبعها المصمم في تصميم الاعلانات التلفزيونية لما له من جمالية وقوة جذب فكل فنان من فنانين البوب آرت كان لديه أسلوب خاص به ووظف هذا الفن في تصاميمه الاعلانية فحقق هذا الفن أقبال عليه من قبل المجتمع الامريكي وحضى بشعبية واسعة كونه فن حاكى حياتهم الشعبية وتجسيدها على شكل اعلانات إضافة إلى إستخدام مختلف أنواع المواد والخامات الجاهزة والألوان الاساسية والثانوية. وقد تضمن هذا البحث الإطار المنهجي المتمثل بمشكلة البحث وأهمية البحث واهدافه وحدوده وتحديد المصطلحات. أما الاطار النظري فتناول فيه الجمالية في الاعلان التلفزيوني، مفهوم فن البوب آرت وابرز فناني البوب آرت، فضلا عن اجراءات البحث المتمثلة بمجتمع البحث والعينة واداة البحث وتحليل العينات ونتائج وإستنتاجات التي توصلت إليها الباحثة ومنها.1- تحققت الألوان المستخدمة في فن البوب آرت في الإعلان من خلال خلفية الاستديو والعلامة التجارية للمنتج فظهرت الالوان في اللقطة (1،2،3،4،5،6،7،9،10،11) أي بنسبة 11% من مجموع البحث الكلي. 2- أن مصمم الاعلان عمد الى أستخدام أسلوب جديد في الاعلان وهو قام بإدخال فن البوب آرت في تصميم علبة المنتج والعلامة التجارية فضلا عن الخلفية المستخدمة في الاعلان كي يضيف اسلوب جديد في الاعلان ويحقق جمالية وجذب للمشاهد كون هذا الفن حقق شعبية واسعة من قبل المجتمع

MoMA Goes beyond the Iron Curtain: The Eastern European Tour of The Prints of Andy Warhol

In 1990, three years after Andy Warhol’s death and one year after the fall of the Berlin Wall, the Museum of Modern Art (MoMA) organized the first one-man show of this pop artist in Eastern Europe. The Prints of Andy Warhol, although never shown at the MoMA in New York, traveled to the Fondation Cartier pour l’Art Contemporain in Jouy-en-Josas, France, the Národní Galerie in Prague, Czechoslovakia, the Staatliche Kunstsammlung in Dresden, the GDR, the Mücsarnok in Budapest, Hungary, and the Muzeum Narodowe in Warsaw, Poland. The current paper analyzes the cultural–political context of The Prints of Andy Warhol. It first discusses the place of both American pop art and Eastern Europe in MoMA’s International Program (IP) and then explores the organizational challenges, art historical contents, and public reception of the exhibition. The paper concludes by examining the broader impact of The Prints of Andy Warhol on both the growing awareness of American pop art in Eastern Europe and MoMA’s cultural diplomacy in this region after the fall of the Iron Curtain.

키스 해링 작품을 응용한 아트 메이크업 디자인

The purpose of this study is to analyze and utilize the cartoonish elements in the pop art imagery of Keith Haring, present an art design based on the results, and suggest new creative ideas and a fresh scope of expression. To that end, the study adopted the methods consisting of contemplation on the theories proposed due to Keith Haring’s characteristics and art makeup based on reviews from previous research, the Internet, and literature on a specific subject and subsequently divided the artists’ cartoonish elements into categories, including icons, partitions, and characters, to propose six art make up designs. As a result, this study first allowed the simple lines and vivid colors of Haring’s artworks to be applied to art makeup. Next, it proposed the directions to extend such expressive realms by connecting art makeup design with cartoonish unique art makeup designs. It is expected that this study can be adopted to develop art makeup design to a greater extent and contribute to carrying out extensive research with wide-ranging subject matter in the future.

D-Pen: Pen reader for dyslexia students

Dyslexia, a persistent neurodevelopmental disorder, challenges reading, spelling, and language processing. Early identification of phonological processing issues is crucial, demanding tailored interventions for sustained academic success. An innovative solution involves using a multipurpose smartpen reader with audio capabilities that connect to smartphones. It uses optical character recognition (OCR) to digitise printed text for transfer to devices, enhancing accessibility. The added features of audio narration, pop art design, and a portable scanner with autocorrection contribute to a comprehensive tool addressing the needs of various dyslexic students during learning activities.

Time Is Out of Joint: Spanish Art and the Cold War in the Long 1960s

This essay considers the ways Spanish artists during the long 1960s, especially those who have come to be associated with international Pop art, navigated the contentious political terrain of Franco’s Spain, a dictatorship with ties to Hitler and Mussolini that was also an American Cold War ally. With artworks collapsing their 1960s present and the past—whether the historical eras of El Greco, Velázquez, and Goya or the more recent past of the pre-Franco 1930s—artists such as Josep Renau and Equipo Crónica express Spain’s specific political and cultural position relative to the Cold War and international artistic developments.

The Semiotics of Fast and Junk Food

This article takes a critical look at the phenomenon of fast and junk food from the standpoint of its meanings and why it originated in the first place. It envisions fast and junk food as sign systems with inherent meanings that change and adapt to cultural shifts. In fact, the unusual aspect of fast food and, certainly, of junk food is that they are semiotic artifacts dovetailing with the emergence of consumerist societies, not continuations or evolutions of previous food codes; they symbolize such societies, having become their integral parts, as can be seen throughout pop art and, more generally, pop culture representations. Therefore, they tell an important side-story of the formation of modernity, and its break with the traditions of the past. They emerged to fit in, artifactually, with a society in which amusement, quickness, and facility became paramount at the threshold of the twentieth century. Given the world we now live in, where artifactuality is installing itself more and more, the future of food itself is becoming more and more indistinguishable from the future of such a phenomenon.

Twórczość Wanga Guangyi i jej wpływ na rozwój pop-artu w Chinach

Since the late 1970s, profound changes have been underway across all spheres of Chinese society, encompassing the arts, thereby giving rise to new artistic trends and transformative shifts within the entire artistic tradition. Chinese artists have increasingly asserted themselves on the international stage. Concurrently, as the West became intrigued by Chinese art, two prominent trends – political pop art and cynical realism – were notably burgeoning. Notably, political pop art emerged as a foremost artistic movement in China during the early 1990s. Central to this trend is a predilection for symbolism, serving as a conduit for artists to articulate their sentiments and societal perspectives. Wang Guangyi is widely acknowledged as the seminal figure behind this movement in China. This article delves into Wang Guangyi’s creative evolution and the genesis of political pop art, exploring the antecedents of this novel artistic trajectory, its conceptual underpinnings, and stylistic hallmarks.

Christine and the Queens and the art of the cover version: interpretations, audience, place

More than many pop artists, Christine and the Queens performs cover versions of familiar songs, often on live TV or radio shows. His selections frequently are interpretations of hits from the 1980s and 1990s. However they are more than the chance to share a nostalgic trip with the audience. In France, he often chooses familiar songs by much-loved singers from the French tradition, thus reassuring them of his Frenchness, despite his growing position on the world stage. On platforms overseas, he often selects huge hits by global anglophone stars, so claiming his place amongst the most successful international British and American performers, albeit that he is French. Using interviews, reviews, and music videos, my research looks in detail at two examples of cover versions by Christine and the Queens, one in French and one in English, exploring why these songs were selected for these particular moments. First, I examine his performance of Mylène Farmer’s “California” on Taratata Live in September 2018. In choosing this song, Chris aligns himself not only with one of the most provocative and daring French singers, but also one deeply supportive of the LGBTQ+ community. The track, with its topics of escape and reinvention in Los Angeles, has resonance for Chris’s own experience, and the original video shares themes of transactional sex and power with Christine and the Queens’s own video for “5 Dollars.” Next, I consider his performance of George Michael’s “Freedom! ’90” at the Global Citizen in September 2021. Chris sets himself alongside a very high-profile, gay artist who battled to reclaim his musical and personal identity after an early career in a worldfamous, highly commercial pop duo. In doing so, he lays out his desire to break from the shackles of the success of his first album, Chaleur humaine , and to have the freedom to evolve, as an artist and in his place as a trans man.

Stratégies des marques face à leur appropriation par un artiste : Analyse réalisée à partir d’œuvres appartenant au mouvement du pop art et à ses héritiers

This research focuses on the rapprochement between commercial world of brands and that of art, two worlds that are a priori distinct. Indeed, essentially since the 20th century, the artistic sphere tends to be more and more intertwined with brands that can be used for products, services, retail chains, organizations, geographical areas, individuals... The rise of this intertwining can be explained by the spread of postmodernism in Western societies since the second half of the 20th century, its dimensions of fragmentation, acceptance of difference, paradoxical juxtaposition of opposites and hyperreality playing a particularly important role. This intertwining causes two types of relations. Indeed, some can be initiated by brands, and in general, they give rise to collaborations, while others can be instigated by artists without having solicited the brand. The first relationships having generated to numerous researches, this article will focus on the second ones which are less often studied. Specifically, it proposes to answer the following question: what strategy(ies) can a brand adopt when faced with its appropriation by artists? To answer this question, this research will begin with a literature review dedicated to art intended not only to explain appropriation in the art field, but also to present the artistic movements most likely to realize such appropriation (pop Art, neo-pop Art, hyperrealism, street art and urban art). The highlighting of movements turns out, indeed, to be a prerequisite for the implementation of the strategies which will be detailed in the second part. In conclusion, some contributions, limitations and future research directions will be outlined.

Интермедиальные приёмы репрезентации образа художника в рассказах Г. Миллера «Нью-Йорк и обратно» и Ч. Буковски «Рабочий день»

The aim of the study is to identify the intermedial means involved in depicting the image of a creative personality represented in the stories “Glittering Pie” (1935) by H. Miller and “A Working Day” (1972) by Ch. Bukowski, contributing to their interpretation, which will cover the works plot-wise, texturally and epistemologically. The study is original in that it is the first to compare H. Miller’s and Ch. Bukowski’s stories from an intermedial perspective. The way in which different visual media techniques find their embodiment in a literary text, being present in it not only as a static reference, but also as an active component influencing the formation of writing and images, is of particular interest in the analysis of the works. The visual in Miller’s story manifests itself through the techniques of surrealism, impressionism and cinema. In the case of Bukowski’s story, the visual is realized through the forms of pop art, photographic stylization and a reference to the subjects of paintings by the artist E. Hopper. The results show that the intermedial techniques involved in the stories make it possible to determine the writers’ connection with the aesthetic projects of modernism and postmodernism. While Miller’s story shows the features of modernist art associated with self-reflection, originality of creative vision and the gap between the ordinary and the sacred, in Bukowski’s story, there are certain features of postmodernism represented by symbolic reduction, a decrease in aesthetic pathos around the artist and his creative activity, as well as thematization of everyday life and banality.