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Published by: Balog Dani on Jun 18, 2011
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Consumer Culture: Art and Temporality

POSTMODERNISM IN ART: AN INTODUCTION
Background: Wesselmann, Tom (1963) Still Life #30

Consumer Culture: Art and Temporality
Avant-garde and Kitsch  Pop in Britain: the Independent Group  Pop in America: Rosenquist , Wesselmann, Lichtenstein and Warhol.

Brillo Boxes and the end of art?

 Simulation

and Simulacra: From Baudrillard to Koons

Avant-garde and Kitsch
(First published in 1939)

“Retiring from public altogether, the avantgarde poet or artist sought to maintain the high level of his art by both narrowing and raising it to the expression of an absolute in which all relativities and contradictions would either be resolved or beside the point... ‘Art for Art’s’ sake and ‘pure poetry’ appear, and subject matter or content becomes something to be avoided like a plague.” (Greenberg 1992, p.5)

while the [great mass of the exploited and poor] have had to content themselves with folk or rudimentary culture.] Formal culture has always belonged to the [powerful and cultivated]. Kitsch is vicarious experience and faked sensations... Kitsch is the epitome of all that is spurious in the life of our times [. welcomes and cultivates .. p.” (Ibid. Kitsch is mechanical and operates by formulas. Insensitivity..Avant-garde and Kitsch  “Kitsch. 10) . or kitsch.. using for raw material the debased and academicizedsimulacra of genuine culture.

vii) Eduardo Paolozzi.Pop Art “Modernism constituted itself through a conscious strategy of exclusion. an anxiety of contamination by its other: an increasingly consuming and engulfing mass culture” (Huyssen 1986. BUNK! (1971) . p.

.

This is Tomorrow (1956) Richard Hamilton (1956) Just What is it that Makes Today’s Homes so Different. so Appealing? .

The allure of American popular culture. Eduardo Paolozzi (1970) Hollywood Wax Museum .

Commodities and sensuality Richard Hamilton (1957) Hers is a Lush Situation .

Peter Blake (1961) Self-Portrait With Badges .

self-perpetuating. which means a system that is static.“Topicality and a rapid rate of change are not academic in any usual sense of the word. Sensitiveness to the variables of our life and economy enable the mass arts to accompany the changes in our life far more closely than the fine arts which are a repository of time-binding values. rigid.” Lawrence Alloway (1958) The Arts and the Mass Media .

Nixon/ Khrushchev ‘Kitchen Debate’ (1959) .

Pop Art in America James Rosenquist (1960-1) President Elect .

Tom Wesselmann (1962) Still Life No.24 .

Roy Lichtenstein (1967) Brushstrokes .

Andy Warhol (1962) Marilyn Diptych .

New York.Brillo boxes and the end of art? First Exhibited in the Stable Gallery. 1964 .

[This]..“Art was no longer possible in terms of a progressive historical narrative. It liberated artists from the task of making more history. in fact.10) . was a liberating idea. The narrative had come to an end. p. It liberated artists from having to follow the ‘correct historical line’” (Danto 1992. or I thought it could be..

Diego Velazquez (1656) Las Meninas. JMW (1842) Streamer in a Snowstorm. Tate London. Turner.Clockwise from top left: Caravaggio (1602-3) Doubting Thomas. Potsdam. Jackson Pollock (1952) Blue Poles number 11. Prado Madrid .

p.5) . The upshot was that you could not teach the meaning of art by examples.” (Danto 1992.“What Warhol’s dictum [that anything could be art] amounted to was that you cannot tell when something is a work of art just by looking at it. for there is no particular way that art has to look.

 replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images replication of images .

Baudrillard: Simulacra APPLE .

Robert Rauschenberg (1963) Stop .

mulation Louise Hopkins (1999) Europe Map (Green) .

an operation to deter every real process by its operational double.Simulation and simulacra no longer has to be rational. It is rather a question of substituting signs of the real for the real itself. that is. It is nothing more than operational. p. the Real. nor even of parody..” (Baudrillard [1983] 2001. In fact. nor reduplication..] no longer measured against some ideal or negative instance.” “It is no longer a question of imitation. it is no longer real at all. since it is no longer enveloped by an imaginary. since it is “[Reality.170) . A perfect descriptive machine which provides all the signs of the real and short-circuits all is vicissitudes.

.

New Shelton Wet/Dry 10-gallon Displaced Tripledecker .Jeff koons (1981-87) New Hoover Deluxe Shampoo Polishers.

Koons Jeff Koons (1986) Rabbit .

Jeff Koons (1988) Michael Jackson and Bubbles .

Andreas (1986) After the Great Divide: Modernism.  Greenberg. Polity Press. Jean ([1983] 2001) Simulacra and Simulations. London. M (ed. London. Poster. MacMillan Press LTD.) Cambridge.  . Boston.  Danto. in Jean Baudrillard: Selected Writings. Beacon Press. Arthur C (1992) Beyond the Brillo Box: The visual arts in post-historical perspective. Mass Culture and Postmodernism.References Baudrillard. Clement (1989) Art and Culture: Critical Essays. University of California Press.  Huyssen.

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