Pop Art Research Articles

Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art

Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

The Gallerist’s Gambit: Financial Innovation, Tax Law, and the Making of the Contemporary Art Market

This essay focuses on the efforts of an enterprising art gallerist, Leo Castelli, to aggressively promote his stable of Pop artists through the development of several financial structures, including some designed to leverage the relatively generous income tax deductions and anemic enforcement regime of the time. In doing so, Castelli not only seeded the ground for the international ascendance of American visual art, but also engineered financial arrangements that fostered the development of a lucrative and resilient art market that endures to this day. With the aim to provide insights into both the legal-political and the art historical registers, this essay describes a tax law framework that provides a key piece missing from the art historical puzzle.

The psychodelic poster as manifestation of pop-art movement in the british graphic design of the 1960-s years

The article reveals the preconditions for the emergence of a specific visual style and a special genre in the field of poster— a «psychodelic poster» in the 1960s in the United Kingdom.It is established that during the pop art movement, due to the popularity of the idea of replicating, from all branches of British graphic design it was poster that developed the most and got the status of the cult genre that caused the emergence of the so called phenomenon «poster boom». It is argued that it was exactly the poster that allowed to fully reveal the bright opportunities that were opened due to the new technical and artistic means of the pop art movement. The psychodelic posters of the British underground studio «Hapshash & The Colored Coat» have been analyzed as the most striking representative of the pop art movement in British graphic design. Though the pop-art soon declined, it became a prelude of postmodernism in the former avant-garde circles.

Pop Art at Woodstock: Sha Na Na

ABSTRACTThis article reflects on Sha Na Na’s creation shortly before Woodstock in the climate of Columbia University’s student uprising and New York’s pop art scene, the circumstances of its inclusion at the festival, and its performance just before that of Jimi Hendrix, with assistance from two original members of the group.

Analytical S tudy on ‘The end of representation of reality’ in Pop art By adopting Baudrillard’s pos tmodern approach

«بازنمایی» یکی از مهمترین نظریه ها در باب ماهیت هنرها است. براساس این نظریه که شکل اولیه آن ذیل طرح پرسش از نسبت هنر با واقعیت در آثار افلاطون نمود یافته است، هر اثر هنری ناگزیر محاکاتی از طبیعت است. پس از اختراع دوربین و امکان بازتولید مکانیکی این رویکرد با چالش جدی مواجه شد و سخن از تغییر ماهیت هنرها به میان آمد. این رخداد منجر به شکل گیری جنبش هایی در نقاشی مدرن شد که از تصویرکردن عناصر آشنا و شبیه سازی آنها اجتناب ورزیدند. با گسترش فن آوری های جدید بحران بازنمایی در عصر پست مدرن تشدید و منجر به طرح مباحثی پیرامون پایان نظام بازنمایی از سوی نظریه پردازی چون بودریار گردید؛ لیکن برخلاف چنین جریانی واقعیت عینی با جنبش پاپ آرت دوباره به بوم نقاشی بازگشت، در نتیجه این پرسش مطرح شد که آیا پاپ آرت تبلور بازگشت نقاشی به سنت بازنمایانه خویش است؟ بر این اساس، مقاله حاضر که با استناد به منابع معتبر و به شیوه کیفی انجام گرفته، درصدد است تا با روش توصیفی-تحلیلی ضمن تبیین اندیشه های بودریار در باب پایان نظام بازنمایی نشان دهد، آنچه در زیر متن سبک پاپ آرت جریان داشت، پذیرش ماهیت تکثیری و تولیدی هنرها و جایگزینی منطق بازتولید نشانه های واقعیت به جای بازنمایی آن است.

A Study on the Direction of Applied Music Education in the Trend of 21 st Century Digital Music Contents

1988년 서울예술대학에 실용음악과 개설 이래 현재까지 지속적으로 증가하여 실용음악 관련 학과가 전국적으로 76개 학교에 개설되었다. 이러한 증가의 이유는 K-Pop의 글로벌한 성공과도 연계하여 생각해 볼 수 있는데, K-Pop은 성장기 청소년들에게 심리적 안녕감을 주며, 더불어 음악적 재능을 갖고 있는 청소년들로 하여금 대중음악 예술가에 대한 우상화 효과와 동경심을 갖도록 하기 때문이다. 매년 국내 실용음악 관련 학과에서 배출되는 예비 대중음악 인력 공급은 시간이 지날수록 팽창하고 있다. 실용음악 교육은 음악 이론 및 실습과 더불어 미디어 콘텐츠 자체를 직접 생산할 수 있는 기술 교육도 포함하고 있기 때문에 전공자들에게 예술가 양성 측면과 콘텐츠 생각 측면 모두 접근 가능한 환경으로 구성되어 있다. 이는 예술가를 비롯한 사업가 혹은 연계 분야로의 진출 가능성을 내포하고 있다. 그러나 현재의 국재 실용음악 교육은 다양한 가능성의 잠재력을 갖고 있음에도 불구하고 콘텐츠 산업에서 필요한 디지털 기술 트렌드 추이와 산업 현장에서 필요한 역량 교육에서 있어서 다각화와 융합적 훈련은 미진해 보인다. 1980년대 MIDI의 출현은 대중음악 제작 시스템과 음악 산업의 큰 변화를 가져왔으며, 개인이 혼자서도 충분히 음악을 제작할 수 있는 시스템이 가능하도록 하였다. 21세기로 진입하면서, 음악시장은 디지털 시대로 완전히 정착을 하였고, 디지털 오디오 형식은 음악 공유의 새로운 시장 패러다임을 만들었다. IT 기술의 진보는 멀티미디어 콘텐츠 시장 활성화를 더욱 부추겼으며, 기술의 발전은 오디오 포맷과 녹음 기술에도 영향을 미치게 된다. 소비자들은 기존의 2채널 스테레오에서 5.1채널, 7.1채널, 바이노럴 녹음 등의 서라운드 음향 경험을 하게 되었고, 이는 음악 콘텐츠 제작의 방법 변화를 가져오게 된다. 기술의 진보에 따라 예술과 과학의 융합 교육이 필요하며, 정통적인 음악 교육을 통한 예술가 배출뿐만 아니라, 연계학문으로의 진출과 사업가 정신이 함양할 필요가 있다. 국내 대학에서 이런 융합 연구를 하는 사례들을 찾아볼 수 있는데, 국내의 일부 대학에서는 음악 교육 이외에 창의, 문제해결, 창업, 글로벌 역량 등의 과정을 포함하는 경우를 발견할 수 있었으며, 해외 대학에서는 미국의 CCRMA, 프랑스의 IRCAM 등의 사례에서 매우 적극적인 예술과 과학 융합 연구가 진행되고 있음을 확인하였다. 매년 수천 명에 이르는 실용음악 계열 전공 졸업자들은 이미 한국 사회에서 과포화 상태에 이르렀으며, 관련 직업은 제한되어 있기 때문에 경제활동을 위한 사회진출이 쉽지 않다. 정통 음악 교육 방식을 벗어나 음악 창의적 능력을 융합한 사업가 그리고 과학자를 배출할 수 있는 다각적 사고의 폭을 넓히도록 도움을 줄 수 있는 실용음악 교육 패러다임의 전환이 필요하다.Since the Department of Applied Music at Seoul Institute of the Arts opened in 1988, 76 applied music schools has been opened, nationwide. The reason may be connected to K-Pop’s global success, which promotes the psychological well-being of the youth, and the idolization of pop artists. This is because it has an effect and a longing. Preliminary human resources produced by domestic applied music-related departments for the pop music industry is growing every year. In addition to music theory and practice, applied music education includes technical education to produce media contents directly. This implies the possibility of entry as artists, entrepreneurs, etc. Although the current Korean applied music education has the potential to explore various possibilities, diversification and convergence training seem to be insufficient with respect to the requirements of digital technology in the contents industry and competency education in the industrial field. The emergence of Musical Instrument Digital Interface(MIDI) in the 1980s brought a major change in the popular music production system and the music industry, enabling individuals to produce music themselves. As we entered the 21st century, the music market settled completely into the digital age, and digital audio formats created a new market paradigm for music sharing. Advancements in Information Technology have further fueled the growth of multimedia contents market. They are affecting audio formats and recording technologies. Additionally, consumers have already experienced a surround sound effect of 5.1ch, 7.1ch, binaural recordings, etc., on existing 2ch stereos, which is changing the way music contents are being produced. Technological advancements call for art and science convergence education. Artists not only require the usual music education, but they also need skills to advance into connected studies and cultivate their business spirit. Examples of such convergence research are found at domestic universities. Some universities in Korea include music, education, problem solving, entrepreneurship, and global competency. With respect to overseas educational institutions such as Stanford Center for Computer Research in Music and Acoustics(CCRMA) in the USA and Institute for Research and Coordination in Acoustics/Music(IRCAM) in France, it is found that research on art and science convergence is already in progress. Korea produces thousands of applied music graduates each year, resulting in oversaturation of the market. Hence, their careers are limited and so are their opportunities to get involved in economic activities. Applied music education will experience a shift in the paradigm that can help in expanding the multifaceted thinking required to produce entrepreneurs and scientists who have creative converged music skills beyond knowledge acquired from typical music education methods.

Cominciamenti della video arte in Italia (1968-1971)

In Italy, the progressive digital accessibility of sub-standard films, videotapes and related paper materials (work notes, project layouts, letters, etc.), as well as the study of the archives in which they were preserved, make it possible today to reconstruct the emergence (between the Sixties and the early Seventies), of the artistic practice of analog video. At the same time, this permits to highlight how this emergence interests both the contexts of artist’s and independent cinema and the areas of Arte Povera, Conceptual Art and Pop Art. On this basis and reflecting critically, it is possible to see that the medial emergence of "video" - as, albeit otherwise, photography and cinema had already done - has challenged the relationship between art and technology as much as the relationship between the theoretical frameworks and the operational modalities from which historically connoted definitions, taxonomies and lexicographies derive. In this perspective, the objective set here concerns the description and a first focus of the emergence of "video art" in Italy starting from what, perhaps too simplified, can be defined as a "prevideo" phase. A short period in which the chronology of events becomes important, certainly not to define primacies, but to highlight - among the practices - the works, the theoretical-critical discourses, the exhibition projects, their connections, their intercommunication or their flow. We will try, therefore, to reconstruct the debut of "video art" in a historiographical key, tracing its genealogy through the documentary apparatus of the main exhibition projects, artistic practices and videotape works. At the state of the archive research, the documentary traces reveal a peculiar connection between "performativity" and "videotape". This is the common thread that runs through the period under consideration. Already active in certain artist's cinema, the performative dimension intensifies and strengthens through the video device according to the closed-circuit mode, through which the first experimentation of the videotape in Italy is attested between 1969 and 1971. These are researches - whose manifestation is, precisely, performative and whose matrix is conceptual - which question, transforming them, the very ideas of work and exhibition. Not only. In the historical and socio-cultural contingency of 1968, the profound transformations produced by the practices of art (conceptual, pop, poor, kinetic and programmed, performative) impact the device of the exhibition, the places dedicated to exhibitions and, in particular, the galleries that become a mental space, a field open to the planning of artists. The "conceptual" character of their performative actions and of the "real time" in which they occur, show themselves and disappear; their documentation (photographic, cinematographic and videographic), therefore, takes on a peculiar function because it occurs instantaneously and simultaneously with artistic events / acts. The documentation overlaps and, together, becomes an expansive dimension of the artistic act rather than a supplementary dimension. On this basis, a first critical re-examination of how, on a double practical-theoretical track, with different methods and tools, both Luciano Giaccari (with Studio 970/2) and Gerry Schum (VideoGalleria) have operate. In particular, it is a question of highlighting how the work and its presence in Italy are interconnected with the beginning of video practices in the artistic field. Finally, it will be highlighted how, during that period, starting from performing experiences captured and recorded on reduced sub-standard film (8mm, 16mm, Super 8) which already present a strong curatorial planning, developed in exhibition contexts such as museums, galleries or alternative spaces, particular attention has been activated towards videotape (with all the technical specificities and the limits of the technologies of the time) as a mean of expression and documentation. Significantly, those same curatorial projects foresaw that the then-avant-garde technologies could be made available to artists in various ways (mainly Philips technologies). Here, as generative events of Italian video art, will be taken in consideration: the 3a Biennale internazionale della giovane pittura. Gennaio 70: comportamenti, progetti, mediazioni (curated by Renato Barilli, Maurizio Calvesi, Tommaso Trini, Andrea Emiliani at the Bologna Civic Museum in 1970); the 35a Esposizione Biennale Internazionale d'Arte del 1970; Eurodomus 3/ Il Telemuseo (curated by da Tommaso Trini in Milano in 1970); Improvvisazioni su Videonatro VPL 6 IC, videoregistratore LDL 1000, telecamera mini-compact (coordinated by Francesco Carlo Crispolti at the Obelisco Gallery in Rome in 1971); Circuito -----> Chiuso – Aperto (Curated by Francesco Carlo Crispolti in Acireale in 1971); Schifanoia-tv: “mezzo” aperto/opera chiusa (realized in Ferrara in 1972 by the collective Gruppo OB based in Milano).

“Bad at Love”: Halsey’s Bisexual Display

abstractThe 25-year old pop artist Halsey has recently made the jump from rising star to the top of the Billboard charts. What sets her apart from many other current muscians is not that she openly identifies as bisexual, or her willingness to play with gender performances, but rather is her hit song, “Bad at Love,” where the singer unequivocally details relationships with both men and women. Due to the uniqueness of the song - and its widespread commercial popularity - the accompanying music video is deemed significant, especially as it pertains to how she may create a bisexual display through various visual and verbal markers. Exactly how Halsey produces such a display in the video is examined here, concluding that the generation of her bisexual display is not distinctive to this video but rather a pattern of this artist, which is an area for further inquiry.

Claudia Coca’s Chola Power

Abstract This essay showcases the work of Claudia Coca, a contemporary pop artist from Lima, Peru whose paintings and drawings critique the links between race, gender, and class in a decolonial, transnational frame. First, the essay explores the way Coca celebrates the Peruvian chola by presenting herself as an empowered subject instead of as an insulted object in her paintings. While the term chola has historically been used derogatorily, Coca reappropriates her chola identity and reclaims it as her own, consequently subverting its prejudicial, racist origins. Second, the essay studies the critiques she performs of the “afterlives of colonialism” on the natural and cultural environment in her most recent series of drawings from 2017. She demonstrates that not only human bodies, but other natural materials are tangled up with the project of cultural colonization. Throughout the article, the work of Chela Sandoval is drawn on to argue that Coca practices an oppositional aesthetic that makes sensible the perspectives of subjects whose voices and bodies have been disparaged instead of valued within an uneven global capitalist system.

About the Authors

Previous article FreeAbout the AuthorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreEliza Butler is a core lecturer in art history at Columbia University, where she received her Ph.D. Her research centers on the intersections of landscape, natural history, and material culture in late nineteenth- and early twentieth-century North America. Her writing has also recently appeared in Winterthur Portfolio.Maggie M. Cao is the David G. Frey Assistant Professor of art history at the University of North Carolina, Chapel Hill. She is the author of The End of Landscape in Nineteenth-Century America (2018). Her research focuses on the intersections of art with histories of technology, natural science, and economics in the eighteenth and nineteenth centuries.Sophie Cras is a maître de conferences (assistant professor) in contemporary art history at the Université Paris 1 Panthéon–Sorbonne, with a special interest in intersections between art and economics. Her first book, The Artist as Economist: Art and Capitalism in the 1960s, will appear in an English translation from Yale University Press in 2019.Michael D’Alessandro is an assistant professor of English at Duke University. His articles have appeared in The New England Quarterly, Studies in American Naturalism, Mississippi Quarterly, and J19: The Journal of Nineteenth-Century Americanists. Currently, he is working on a book project titled “Staged Readings: Contesting Class in Popular American Literature and Theatre, 1835–1875.”Chris Dingwall is a lecturer at Oakland University and author of Selling Slavery: Race and the Industry of American Culture (forthcoming). He recently co-curated African American Designers in Chicago: Art, Commerce, and the Politics of Race, an exhibition held at Chicago Cultural Center.Diana Seave Greenwald is assistant curator of the collection at the Isabella Stewart Gardner Museum. She completed her doctorate at the University of Oxford, where she also earned an M.Phil. in economic and social history. Her book Painting by Numbers: Economic Histories of Nineteenth Century Art is forthcoming from Princeton University Press.Diana L. Linden is an independent scholar. Her book Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (2015) was selected as a finalist by the National Jewish Book Awards. She was the co-editor of The Social and the Real: Political Art of the 1930s in the Western Hemisphere (2006). Her work has also appeared in Prospects and American Jewish History.David McCarthy is a professor of art history at Rhodes College. He is the author of The Nude in American Painting, 1950–1980 (1998); Pop Art (2000); H. C. Westermann at War: Art and Manhood in Cold War America (2004); American Artists against War, 1935–2010 (2015); and numerous essays about American art of the mid-twentieth century.John Ott is a professor of art history at James Madison University and author of Manufacturing the Modern Patron in Victorian California: Cultural Philanthropy, Industrial Capital, and Social Authority (2014). His current book project is “Mixed Media: The Visual Cultures of Racial Integration, 1931–1954.”Alex J. Taylor is an assistant professor and academic curator in the history of art and architecture at the University of Pittsburgh. From 2014 to 2016, he was the Terra Foundation Research Fellow in American Art at Tate. He is currently completing a history of corporate art patronage in the 1960s.Anne Verplanck is an associate professor of American studies at Penn State, Harrisburg. She is writing “The Business of Art: Transforming the Graphic Arts in an Age of Mechanical Reproduction,” which explores such areas as entrepreneurship, innovation, and marketing to more fully understand the interplay of economics, social forces, and art.Alan Wallach is the Ralph H. Wark Professor Emeritus of art and art history and professor emeritus of American studies at the College of William and Mary. His publications include studies of Thomas Cole, the Hudson River School, and art museums in the United States. Previous article DetailsFiguresReferencesCited by American Art Volume 33, Number 3Fall 2019 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/707480 © 2019 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

시니컬 리얼리즘과 인민의 얼굴들, 몸

Cynical Realism is an idiom created consciously by Li Xianting, a Chinese contemporary art critic under a clear purpose of wanting to inform the Chinese art industry earnestly along with the creation of idioms like ''Political Pop Art'' and ''Gaudy Art''. The paths of these terms were mainly through magazines and the Venetian and Sao Paulo Biennale in Brazil which were done in 1993, 1995 and 1997, and the works exhibited here were sold in each market of the world art since mid-2000. This led China''s contemporary art to enter the capitalist line, and virtual realism became the most “Chinese” part of Chinese contemporary art by selling it at the highest price. In particular, these cynical realism artists who were educated in the socialist era wanted to open a new socialist art in the post-socialist era were like li Wei, Fang Lijun, Zhang Xiaogang, Yue Minjun, and Zheng Fanzhi. The characteristics are as follows. First, they focus on the ''face''. This confirms the status in which art was used in the last socialist period. It represents important symbols in post-socialist China by replacing the face of the present in the portraits of Mao Zedong. Second, ''family'' stands out as the identity of the individual and stands at the crossroads of ''people'', a member of the socialist era. This is read as a movement to push out the existence of ''workers, peasants, soldiers'' who existed only as constituent members of socialism in the past socialism, and to find their identity in the family members. Third, they pay attention to ‘emotion’ such as laughter or depression. This is also is in contrast to Mao''s expressionlessness. which was the face of a public hero during the socialist era. The face of the in the post-socialist era is just one person who is in the process of being happy. Especially, their emotions need attention because they are laughters and depressions that are pretended expressions rather than direct expressions. The post-Socialist “people” were now different from the positions of the socialist people. They have evolved into many classes, and in the present situation, the are actually in contact with the so called social lows after 2000.Thus, it can be said that the cynical realism is a realistic demonstration of the fact that the term people which was used in the socialism period, should be reconsidered.

Andy Warhol e o cinema como máquina da verdade

Em 1963, no momento em que vivia o auge de sua carreira como artista pop, Andy Warhol passou a realizar também filmes, produzindo-os em ritmo constante até 1968. Este artigo investiga as relações entre pintura e cinema na prática artística de Warhol. Propõe-se uma leitura da obra do artista com base nas noções de aparência, artifício e performance. Em seguida, veremos como essas questões são recolocadas pelos filmes, ao serem confrontadas com qualidades específicas do meio cinematográfico, como o realismo, o movimento e o tempo.

PLEXIGLAS AS PAINTING MEDIA

The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based paints, as well as gravur and grinder techniques to erode the surface. Next is collecting data and references, as well as processing and analyzing data which results are used as the basic for making designs. Design Stage visualizes exploration results into various design alternatives which then the best is chosen and used as references in making works. Realization Stage is the process of manifesting the chosen design into the real work. Research showed that the use of plexiglass material as a medium of traditional glass painting has a very good results, and plexiglas can fully replace glass in terms of aplicable to various paint types, even plexiglas has excellence over ordinary glass that is water-based acrylic paint can be applied better in plexiglas and can fused (compound). Exploration of works visualization using plexiglas as medium has a very good result, as applied to ordinary glass. Exploration of works visualization has a very good result, some works still use traditional motifs and symbols combined with modern motifs and symbols with illustrative, expressionist and pop art style.

Representasi Realitas Dunia Pop Art Warhol Sebuah Tinjauan Semiologi

Abstract. This study is the result of a pre-discussion on the meaning of Andy Warhol's printmaking object material. The purpose of this study is to obtain an outline of the description of the reality and myths in Warhol's work. Data is obtained from visual objects in the field and relevant literature studies, then descriptively will be analyzed by Danesi, semiological approach. The results of this study concluded that through printmaking's pop art work, Warhol wanted to build an ideology perpetuated by the dominant forces in society. Keywords: Warhol, pop art graphic art, ideology

Pop Art in Contemporary Ready- Made fabric designs

The design of ready-made garments is an important part of the culture of the modern era in its steps, colors and distances from one chapter to the next and from one year to another. It has followed important and extensive steps in an attempt to prove its actual artistic and scientific presence, which is connected with the other human expression techniques reflecting the tendencies, features and taste of the designer as he translates the nature of the person prepared for him and wears it so it is considered expressive means of self. Hence the study topic Pop Art in contemporary ready-made designs: The problem can be summed up by the following question: What is the role of pop art in the designs of contemporary ready-made garments? Hence the importance of the current research, as the research contributes to the possibility of developing the designs of contemporary women's clothing fabrics. The aim of the research was to discover new designs inspired by Pop Art art, which will be used in the designs of contemporary ready-made fabrics, based on the analytical descriptive approach in collecting data and information related to the subject of the research and based on the experimental approach in preparing the proposed models, (3) models and the research tool represented by the analysis form prepared for this purpose and then ratified this tool and its stability, which was presented to the most important experts specialized in the design of fabrics and then analysis of the models analysis based on the form that was designed to achieve the purpose research The study concluded the need to adopt the The design of the art of the art of pop art is characterized by the geometric style and the realistic style of the two dominant styles as one of the technical treatments to preserve the features and characteristics of the design vocabulary within the framework of formal and objective unity, which is known to show the aesthetic dimension of the work of art. And that the focus of designs should be on the morphological formality of the human and natural vocabulary (Adamic) with the attached engineering unit and their preference to represent the real dimension of the design idea, due to the capacity of the field and the rich engineering resources that formed a complex field and to simplify the design configuration. Perhaps one of the most important foundations of the study is the need to be proportionate basis of artistic taste obtained from the product design, which is one of the most important foundations to fit each part of the design with the other parts and its relationship with all in terms of subject and dimensions,

샘 셰퍼드의 『진짜 서부』에 드러난 팝아트 미학

This paper examines the pop art aesthetics, particularly those of 1960’s America, along with other deconstructive aesthetics, reflected in Sam Shepard’s 1980 stage play, True West. At the time of writing, Shepard was crucially influenced by the American social movements and mirrored contemporary artistic trends which underwent radical anti-modernist changes. Artistic movements such as abstract expressionism, minimalism and pop art challenged and defied the traditional concept and authority of art in history. Likewise, Shepard, who made his debut on the Off-Off Broadway, reflects and deploys American popular culture and social issues in his experimental output. If pop art conveys the ironic messages related to mass culture or consumerism at that time, such aesthetics are epitomized in True West by unstable, destructive brothers, Lee and Austin, working on a Hollywood movie script. While drawing on an interdisciplinary approach connecting art and literature, this study demonstrates the implications of the pop art and other aesthetics in True West by tracing its textual clues, conflicting visual images, symbols and metaphors. The comparative reading of the play leads to the conclusion that the playwright himself is also actively and self-reflexively contributing to the discourse of popular culture through his own act of experimental writing.

Legitimating Law in a Digital State

Walter Benjamin used the word ‘aura’ to capture the unique existence in time and space of the work of art. He concluded that the artwork’s historic presence is what is lost in the process of mechanical reproduction. The tomato cans and serial silk screens by pop artist Andy Warhol seem intent on making a comparable claim. This is what happens when signifiers float free of the signified, when the ‘original’ that has been copied seems to have gone missing. In this conference, we ask: can the presence of the original be retained in cybernetic reproduction? To paraphrase Levinas, is it possible to experience infinite fullness in the face of a robot? The concept of authentic presence may be approached from a variety of perspectives: phenomenological, semiotic, religious, aesthetic, political, or technological. Each view may lead to different social and psychological (including emotional) configurations. One of the aims of this workshop is to consider what it means to speak of a 'present subject' as an entity composed of a mind and a body – or of hardware and software – in a network of human and/or cybernetic relationships and environments. Our first domain of theoretical inquiry will proceed within the field of social robotics. Here we confront the challenge of understanding the nature and extent of a living relationship between the entity that simulates the human (the robot) and the human subject. We explore the different roles and functions robots may play, including that of ‘therapeutic’ partner (whether affective or sexual [or both]) and intellectual (or even spiritual) mentor. A key theme here concerns the need for a theory of emotions that helps us think through what distinction, if any, can (or ought) to be made between machine behavior and human. A second domain of inquiry addresses our visual relationship with juridical and political power. In particular, we ask: How (starting from Hobbes) do representative images function as political theological embodiments or mediations or fictions of state power through which the citizen symbolically identifies with the state? Has the modern (or post-) modern secularization of theological-political representations in the form of market commodities and digitally simulated images retained the power to manipulate subjects, but lost the legitimating aura of authentic political and legal symbols? What constitutes legitimation in a digital state? These queries lead to a third domain, namely: the complex philosophical challenge posed by thinking about the possibility of sharing a common conception of human being in the face of different cultural perspectives – both eastern and western – each of which may bear a different vision of what it means to be human. To be sure, working through these fundamental issues, provoked anew by contemporary technological conditions, lies beyond the scope of this workshop. Our more modest hope is simply to explore their scope and begin the task of framing the analysis, moving from aesthetic-philosophical approaches current in Italy and Japan to the challenge of supplementing or perhaps overcoming the humanistic technique of perspective in painting and culture with the creation of a 'non-human look' evident in recent cinematic practices using computer vision and techniques of total immersion. Exploring the notion of a non-human perspective provides an opportunity to discuss in a new key the historically persistent, and persistently controversial clash between presence and its simulation. Accordingly, our concluding discussion will address the philosophical implications of digital 'immersion' as well as the possibility of generating a publication and pursuing future research projects on these issues.

Hybrid Storytelling by Trans-boundaries of Simulacre: Focused on Kenny Scharf’s Pop Art

Pop artist Kenny Scharf has reflected american cultural contents and social message. In his works, there are fears of wars and AIDS in the late of 1970s. This his view of world inflected to virtual images filled with positive energy and humor. Thus this article explores the analysis of simulacre with trans-boundaries focusing on hybrid storytelling in his pop arts. This study aims to analyze following four elements. Firstly, his works have the characteristics hybridity bound for universe. Scharf makes use of common things, sciences, and religion and connected within universe and utilizes comic, animation, soap opera and etc. Secondly, we can see relational rebirth of common objects. Many objects in his works, they go forth from independent thing to interactive relationships. Thirdly, double functions of pop arts such as enjoyment and criticism which is one of main purposes in pop art. Finally, artist’s ontological behavior from dystopia to utopia. This is represented by spacial exhibition based on artitist’s imagination. In the third chapter, these four characteristics have explained with pop arts relevant to each categories. Recently various simulacres have been represented in many areas due to digital technology. Advanced reality, virtual reality, and mixed reality will be showed in anot only costumers’ technological experiences in exhibitions but also fine art itself. Thus we need to be interested in an artistic representation of technological simulacre in modern society. This article considers trans-boundaries of simulacre and expects hybrid visual images in art.

Pop vocal as a Distinctive feature of urban Culture

The purpose of the article. This article has the main purpose to analyze pop vocal as a specific phenomenon generated by urban culture and way of life of the big city, which implies, accordingly, the rhythmic features of pop performances. The methodology of research is based on an interdisciplinary approach to the pop vocal as an object that exists not only on the stage, it is not isolated, but penetrates into different spheres of life. In addition, pop performance is the background, which due to its accessibility is perceived as a backdrop, not just as an independent phenomenon. Significant role here also belongs to the sociology of music. Scientific novelty of the article is that in this article pop music is considered not only as an isolated phenomenon, the place of deployment of which is a scene. The performance and field of performance of the pop artist is a product of urban culture and reflects its rhythm. Accordingly, pop performance is a complex phenomenon that does not exist separated from other cultural patterns, but is a background that accompanies the dynamics of urban processes. Conclusions. Various aspects of pop vocal are studied by scientists in works devoted to different fields of culture. As a cultural phenomenon, pop performance is inappropriate to consider from the point of view of its stage isolation, because it penetrated almost all spheres of life, everyday life of man. Not least this was due to the support of the pop music, which has become like a kind of city ambient, on the part of the media. Thus, pop performance expresses the specifics of the urban way of life. Hence, such essential characteristics of pop vocal as the frequency of changes in the rhythm of songs and the sound of the performer’s voice, the lack of stable norms and rules, the combination of achievements of different layers of culture (both academic and folk based on folk-based basis), standardization and an attempt to develop their own style and manner of execution, variety of subjects, accessibility for any listening audience, dynamism, unity. It is also possible to characterize the very urban culture. Variety performance is nothing more than a “rhetoric of steps”.

The Gallerist’s Gambit: Financial Innovation, Tax Law, and the Making of the Contemporary Art Market

This essay presents an account of an important moment in the emergence of the market for Pop art that was facilitated in part by a distinctly accommodating legal environment. Although Abstract Expressionism is commonly credited with causing American art’s ascendance onto the world stage immediately after World War II, its international acclaim belied a precarious institutional and financial infrastructure for living American painters. It was only with the following generation of Pop and Minimalist artists that the United States developed a self-sustaining market for the work of contemporary American artists. A significant but largely overlooked factor in that continued success was the ability of art dealers to take advantage of the unique legal and regulatory environment of the 1960s. This essay focuses on the efforts of an enterprising art gallerist, Leo Castelli, to aggressively promote his stable of Pop artists through the development of several financial structures, including some designed to leverage the relatively generous income tax deductions and anemic enforcement regime of the time. In doing so, Castelli not only seeded the ground for the international ascendance of American visual art, but also engineered financial arrangements that fostered the development of a lucrative and resilient art market that endures to this day.