Pop Art

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Pop art 1

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
challenged tradition by asserting that an
artist's use of the mass-produced visual
commodities of popular culture is
contiguous with the perspective of fine art.
Pop removes the material from its context
and isolates the object, or combines it with
other objects, for contemplation.[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 Richard Hamilton's collage Just What Is It That Makes Today’s Homes So
art is aimed to employ images of popular as Different, So Appealing? (1956) is one of the earliest works to be considered "pop
art".
opposed to elitist culture in art, emphasizing
the banal or kitschy elements of any given
culture, most often through the use of irony.[2] It is also associated with the artists' use of mechanical means of
reproduction or rendering techniques.

Much of pop art is considered incongruent, as the conceptual practices that are often used make it difficult for some
to readily comprehend. Pop art and minimalism are considered to be art movements that precede postmodern art, or
are some of the earliest examples of Postmodern Art themselves.[4]
Pop art often takes as its imagery that which is currently in use in advertising.[5] Product labeling and logos figure
prominently in the imagery chosen by pop artists, like in the Campbell's Soup Cans labels, by Andy Warhol. Even
the labeling on the shipping carton containing retail items has been used as subject matter in pop art, for example in
Warhol's Campbell's Tomato Juice Box 1964, (pictured below), or his Brillo Soap Box sculptures.
Pop art 2

Origins
The origins of pop art in North America and
Great Britain developed differently.[2] In
America, it marked a return to hard-edged
composition and representational art as a
response by artists using impersonal,
mundane reality, irony and parody to defuse
the personal symbolism and "painterly
looseness" of Abstract Expressionism.[3] [6]
By contrast, the origin in post-War Britain,
while employing irony and parody, was
more academic with a focus on the dynamic
and paradoxical imagery of American Andy Warhol, Campbell's Tomato Juice Box, 1964, Synthetic polymer paint and
popular culture as powerful, manipulative silkscreen ink on wood, 10 inches × 19 inches × 9½ inches (25.4 × 48.3 × 24.1
cm), Museum of Modern Art, New York City
symbolic devices that were affecting whole
patterns of life, while improving prosperity
of a society.[6] Early pop art in Britain was a matter of ideas fueled by American popular culture viewed from afar,
while the American artists were inspired by the experiences, of living within that culture.[3] Similarly, pop art was
both an extension and a repudiation of Dadaism.[3] While pop art and Dadaism explored some of the same subjects,
pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with detached affirmation of
the artifacts of mass culture.[3] Among those artists seen by some as producing work leading up to Pop art are Pablo
Picasso, Marcel Duchamp, Kurt Schwitters, and Man Ray.
Pop art 3

In Great Britain: The Independent Group


The Independent Group (IG), founded in London in 1952, is regarded
as the precursor to the pop art movement.[1] [7] They were a gathering
of young painters, sculptors, architects, writers and critics who were
challenging prevailing modernist approaches to culture as well as
traditional views of Fine Art. The group discussions centered on
popular culture implications from such elements as mass advertising,
movies, product design, comic strips, science fiction and technology.
At the first Independent Group meeting in 1952, co-founding member,
artist and sculptor Eduardo Paolozzi presented a lecture using a series
of collages titled Bunk! that he had assembled during his time in Paris
between 1947–1949.[1] [7] This material consisted of 'found objects'
such as, advertising, comic book characters, magazine covers and
various mass produced graphics that mostly represented American
popular culture. One of the images in that presentation was Paolozzi's
1947 collage, I was a Rich Man's Plaything, which includes the first
use of the word "pop″, appearing in a cloud of smoke emerging from a
revolver.[1] [8] Following Paolozzi's seminal presentation in 1952, the
Eduardo Paolozzi. I was a Rich Man's Plaything
IG focused primarily on the imagery of American popular culture,
(1947) is considered the initial standard bearer of
particularly mass advertising.[6] "pop art" and first to display the word "pop".
Paolozzi showed the collage in 1952 as part of his
Subsequent coinage of the complete term "pop art" was made by John groundbreaking Bunk! series presentation at the
McHale for the ensuing movement in 1954. "Pop art" as a moniker was initial Independent Group meeting in London.

then used in discussons by IG members in the Second Session of the


IG in 1955, and the specific term "pop art" first appeared in published print in an article by IG members Alison and
Peter Smithson in Arc, 1956.[9] However, the term is often credited to British art critic/curator, Lawrence Alloway in
a 1958 essay titled The Arts and the Mass Media, although the term he uses is "popular mass culture".[10]
Nevertheless, Alloway was one of the leading critics to defend the inclusion of the imagery found in mass culture in
fine art.
Pop art 4

In the United States


Although the movement began in the late 1950s, Pop Art in
America was given its greatest impetus during the 1960s. By this
time, American advertising had adopted many elements and
inflections of modern art and functioned at a very sophisticated
level. Consequently, American artists had to search deeper for
dramatic styles that would distance art from the well-designed
and clever commercial materials.[6] As the British viewed
American popular culture imagery from a somewhat removed
perspective, their views were often instilled with romantic,
sentimental and humorous overtones. By contrast, American
artists being bombarded daily with the diversity of mass produced
imagery, produced work that was generally more bold and
aggressive.[7]
Roy Lichtenstein's Drowning Girl (1963) on display at
the Museum of Modern Art, New York
Two important painters in the establishment of America's pop art
vocabulary were Jasper Johns and Robert Rauschenberg.[7] While
the paintings of Rauschenberg have relationships to the earlier work of Kurt Schwitters and other Dadaists, his
concern was with social issues of the moment. His approach was to create art out of ephemeral materials and using
topical events in the life of everyday America gave his work a unique quality.[7] [11] Johns’ and Rauschenberg’s work
of the 1950s is classified as Neo-Dada, and is visually distinct from the classic American Pop Art which began in the
early 1960s.[12] [13]

Of equal importance to American pop art is Roy Lichtenstein. His work probably defines the basic premise of pop
art better than any other through parody.[7] Selecting the old-fashioned comic strip as subject matter, Lichtenstein
produces a hard-edged, precise composition that documents while it parodies in a soft manner.
The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a direct attachment to
the commonplace image of American popular culture, but also treat the subject in an impersonal manner clearly
illustrating the idealization of mass production.[7] Andy Warhol is probably the most famous figure in Pop Art.
Warhol attempted to take Pop beyond an artistic style to a life style, and his work often displays a lack of human
affectation that dispenses with the irony and parody of many of his peers.[14] [15]

Early exhibitions
Claes Oldenburg, Jim Dine and Tom Wesselmann had their first shows in the Judson Gallery in 1959/60. In 1960
Martha Jackson showed installations and assemblages, New Media - New Forms featured Hans Arp, Kurt Schwitters,
Jasper Johns, Claes Oldenburg, Robert Rauschenberg, Jim Dine and May Wilson. In 1961 Oldenburg created a store
for Martha Jackson's spring show Environments, Situations, Spaces. In December he showed The Store at his
studio.[16] [17]
In London, the annual RBA exhibition of young talent in 1960 first showed American Pop influences. In January
1961, the most famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, Allen Jones,
Derek Boshier, Patrick Caulfield, Peter Phillips and Peter Blake on the map. Hockney, Kitaj and Blake went on to
win prizes at the John-Moores-Exhibition in Liverpool in the same year.
Opening October 31, 1962, Willem de Kooning's New York art dealer, the Sidney Janis Gallery, organized the
groundbreaking International Exhibition of the New Realists, a survey of new to the scene American Pop, French,
Swiss, Italian New Realism, and British Pop art. The fifty-four artists shown included Richard Lindner, Wayne
Thiebaud, Roy Lichtenstein, Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom
Wesselmann, George Segal, Peter Phillips and Peter Blake (his large The Love Wall from 1961) and Yves Klein,
Pop art 5

Arman, Daniel Spoerri, Christo, Mimmo Rotella. Martial Raysse, Niki de Saint-Phalle and Jean Tinguely saw the
show in New York and were stunned by the size and the look of the American work. Also shown were Marisol,
Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists, but gained
Dine,Oldenburg, Segal and Wesselmann.[18]
A bit earlier, on the West-coast, Roy Lichtenstein, Jim Dine and Andy Warhol from NYC, Phillip Hefferton and
Robert Dowd from Detroit; Edward Ruscha and Joe Goode from Oklahoma City, and Wayne Thiebaud from
California were included in the New Painting of Common Objects show. This first Pop Art museum exhibition in
America was curated by Walter Hopps at the Pasadena Art Museum [19]. Pop Art now was a success and was going
to change the art world forever. New York followed Pasadena in 1963 when the Guggenheim Museum exhibited Six
Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein,
Robert Rauschenberg, James Rosenquist, and Andy Warhol.[20]
By 1962, the Pop artists began to exhibit in commercial galleries in New York and Los Angeles, for some it was
their first commercial one-man show. The Ferus Gallery presented Andy Warhol in Los Angeles and Ed Ruscha in
1963. In New York, the Green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann, the Stable Gallery
R. Indiana and Warhol (his first New York show), the Leo Castelli Gallery presented Rauschenberg, Johns, and
Lichtenstein, Martha Jackson showed Jim Dine, and Allen Stone showed Wayne Thiebaud. By 1965–1966 after the
Green Gallery and the Ferus Gallery closed the Leo Castelli Gallery represented Rosenquist, Warhol, Rauschenberg,
Johns, Lichtenstein and Ruscha, The Sidney Janis Gallery represented Oldenburg, Segal, Wesselmann and Marisol,
while Allen Stone continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.[21]

Proto-pop
It should also be noted that while the British pop art movement predated the American pop art movement, there were
some earlier American proto-Pop origins which utilized 'as found' cultural objects.[3] During the 1920s American
artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings prefiguring the pop art movement that
contained pop culture imagery such as mundane objects culled from American commercial products and advertising
design.[22] [23] [24]

In Spain
In Spain, the study of pop art is associated with the "new figurative", which arose from the roots of the crisis of
informalism. Eduardo Arroyo could be said to fit within the pop art trend, on account of his interest in the
environment, his critique of our media culture which incorporates icons of both mass media communication and the
history of painting, and his scorn for nearly all established artistic styles. However, the Spaniard who could be
considered the most authentically “pop” artist is Alfredo Alcaín, because of the use he makes of popular images and
empty spaces in his compositions.
Also in the category of Spanish pop art is the “Chronicle Team” (El Equipo Crónica), which existed in Valencia
between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can be
characterized as Pop because of its use of comics and publicity images and its simplification of images and
photographic compositions. Filmmaker Pedro Almodovar emerged from Madrid's "La Movida" subculture (1970s)
making low budget super 8 pop art movies and was subsequently called the Andy Warhol of Spain by the media at
the time. In the book "Almodovar on Almodovar" he is quoted saying that the 1950s film "Funny Face" is a central
inspiration for his work. One Pop trademark in Almodovar's films is that he always produces a fake commercial to
be inserted into a scene.
Pop art 6

In Japan
Pop art in Japan is unique and identifiable as Japanese because of the regular subjects and styles. Many Japanese pop
artists take inspiration largely from anime, and sometimes ukiyo-e and traditional Japanese art. The best-known pop
artist currently in Japan is Takashi Murakami, whose group of artists, Kaikai Kiki, is world-renowned for their own
mass-produced but highly abstract and unique superflat art movement, a surrealist, post-modern movement whose
inspiration comes mainly from anime and Japanese street culture, is mostly aimed at youth in Japan, and has made a
large cultural impact. Some artists in Japan, like Yoshitomo Nara, are famous for their graffiti-inspired art, and
some, such as Murakami, are famous for mass-produced plastic or polymer figurines. Many pop artists in Japan use
surreal or obscene, shocking images in their art, taken from Japanese hentai. This element of the art catches the eye
of viewers young and old, and is extremely thought-provoking, but is not taken as offensive in Japan. A common
metaphor used in Japanese pop art is the innocence and vulnerability of children and youth. Artists like Nara and
Aya Takano use children as a subject in almost all of their art. While Nara creates scenes of anger or rebellion
through children, Takano communicates the innocence of children by portraying nude girls.

In Italy
In Italy, Pop Art was known from 1964, and took place in different forms, such as the "Scuola di Piazza del Popolo"
in Rome, with artists such as Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa and also some artworks
by Piero Manzoni and Mimmo Rotella.
Italian Pop Art originated in ‘50s culture, to be precise in the works of two artists: Enrico Baj and Mimmo Rotella,
who have every right to be considered the forerunners of this scene. In fact, it was around 1958-59 that Baj and
Rotella abandoned their previous careers – which might be generically defined as a non-representational genre
despite being run through with post-Dadaism – to catapult themselves into a new world of images and the reflections
on them which was springing up all around them. Mimmo Rotella’s torn posters gained an ever more figurative taste,
often explicitly and deliberately referring to the great icons of the times. Enrico Baj’s compositions were steeped in
contemporary kitsch, which was to turn out to be a gold mine of images and stimuli for an entire generation of
artists.
The novelty lies in the new visual panorama, both inside the four domestic walls and out: cars, road signs, television,
all the "new world." Everything can belong to the world of art, which itself is new. In this respect, Italian Pop Art
takes the same ideological path as that of the International scene; the only thing that changes is the iconography and,
in some cases, the presence of a more critical attitude to it. Even in this case, the prototypes can be traced back to the
works of Rotella and Baj, both far from neutral in their relationship with society. Yet this is not an exclusive
element; there is a long line of artists, from Gianni Ruffi to Roberto Barni, from Silvio Pasotti to Umberto Bignardi
and Claudio Cintoli who take on reality as a toy, as a great pool of imagery from which to draw material with
disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of “let me have
fun” à la Aldo Palazzeschi.[25]

In The Netherlands
While in the Netherlands there was no formal Pop Art movement, there was a group of artists who spent time in New
York during the early years of Pop Art and drew inspiration from the international Pop Art movement. Key
representatives of Dutch Pop Art are Gustave Asselbergs, Woody van Aamen, Daan van Golden, Rik Bentley, Jan
Cremer, Wim T. Schippers and Jacques Frenken. They had in common that they opposed the Dutch petit bourgeois
mentality by creating humorous works with a serious undertone. Examples include Sex O'Clock by Woody van
Amen and Crucifix / Target by Jacques Frenken.[26]
Pop art 7

Painting and sculpture examples

Jasper Johns, 1954–1955 Andy Warhol, 1962 Campbell's Tom Wesselmann, Wayne Thiebaud,
Flag Soup Cans 1962 Still Life 1963 Three Machines

Claes Oldenburg, 1966 David Hockney, 1967 A Bigger Alex Katz, 1970 Vincent Jim Dine, 1984–1985 The Robe
Soft Bathtub Splash with Open Mouth Following Her

Notable artists
• Billy Apple • Jann Haworth • John McHale • Larry Rivers
• Evelyne Axell • David Hockney • Marisol • James Rosenquist
• Sir Peter Blake • Dorothy Iannone • Peter Max • Ed Ruscha
• Derek Boshier • Robert Indiana • Takashi Murakami • Niki de Saint Phalle
• Pauline Boty • Jasper Johns • Yoshitomo Nara • Peter Saul
• Patrick Caulfield • Allen Jones • Claes Oldenburg • George Segal
• Allan D'Arcangelo • Alex Katz • Julian Opie • Colin Self
• Jim Dine • Corita Kent • Eduardo Paolozzi • Marjorie Strider
• Rosalyn Drexler • Kiki Kogelnik • Peter Phillips • Aya Takano
• Robert Dowd • Nicholas Krushenick • Sigmar Polke • Wayne Thiebaud
• Erró • Yayoi Kusama • Hariton Pushwagner • Andy Warhol
• Red Grooms • Roy Lichtenstein • Mel Ramos • Idelle Weber
• Richard Hamilton • Richard Lindner • Robert Rauschenberg • John Wesley
• Keith Haring • Tom Wesselmann
Pop art 8

Notes and references


[1] Livingstone, M., Pop Art: A Continuing History, New York: Harry N. Abrams, Inc., 1990
[2] de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.
[3] Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
[4] Harrison, Sylvia (2001-08-27). Pop Art and the Origins of Post-Modernism. Cambridge University Press.
[5] http:/ / www. the-artists. org/ movement/ Pop_Art. html
[6] Gopnik, A.; Varnedoe, K., High & Low: Modern Art & Popular Culture, New York: The Museum of Modern Art, 1990
[7] Arnason, H., History of Modern Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
[8] Tate Collection image: I was a Rich Man's Plaything (http:/ / www. tate. org. uk/ imap/ imap2/ pages/ paolozzi. html)
[9] Alison and Peter Smithson, "But Today We Collect Ads" , reprinted on page 54 in Modern Dreams The Rise and Fall of Pop, published by
ICA and MIT, ISBN 0262-73081-2
[10] Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, February 1958.
[11] Sandler, Irving H. The New York School: The Painters and Sculptors of the Fifties, New York: Harper & Row, 1978. ISBN 0-06-438505-1
pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and ogay gay gay agay gay BLACK POWER ther gestural realists;
[12] Robert Rosenblum, "Jasper Johns" Art International (September 1960): 75.
[13] Hapgood, Susan, Neo-Dada: Redefining Art, 1958-62. New York: Universe Books, 1994.
[14] Michelson, Annette, Buchloh, B. H. D. (eds) Andy Warhol (October Files), MIT Press, 2001.
[15] Warhol, Andy. The Philosophy of Andy Warhol, from A to B and back again. Harcourt Brace Jovanovich, 1975
[16] The Store, MoMA (http:/ / www. moma. org/ collection/ browse_results. php?criteria=O:AD:E:4397& page_number=12& template_id=1&
sort_order=1) retrieved July 10, 2010
[17] Joslyn Art Museum, The Great American Pop Art Store: Multiples of the Sixties 2000 exhibition (http:/ / www. tfaoi. com/ newsm1/
n1m651. htm) retrieved July 10, 2010
[18] ,Andy Warhol poetry and gossip, in the 1960s (http:/ / books. google. com/ books?id=hLgyznMrORsC& pg=PA83& lpg=PA83& dq=New+
Realism+ at+ Sidney+ Janis& source=bl& ots=2CQXoBBdiS& sig=HBQNsOqvkZvHEEFnWhnhTls-EH4& hl=en&
ei=07IbS67CA4TBlAeTt63vCQ& sa=X& oi=book_result& ct=result& resnum=10& ved=0CCEQ6AEwCQ#v=onepage& q=New Realism at
Sidney Janis& f=false) retrieved December 6, 2009
[19] http:/ / www. nortonsimon. org/ about/ history. aspx
[20] World Cat. (http:/ / www. worldcat. org/ oclc/ 360205683) retrieved December 6, 2009
[21] Pop Artists: Andy Warhol, Pop Art, Roy Lichtenstein, Jasper Johns, Peter Max, Erró, David Hockney, Wally Hedrick, Michael Leavitt (May
20, 2010) Reprinted: 2010, General Books, Memphis, Tennessee, USA, ISBN 978-1155483498, ISBN 1155483499.
[22] New Yorker article, accessed online August 28, 2007 (http:/ / www. newyorker. com/ arts/ critics/ artworld/ 2007/ 08/ 06/
070806craw_artworld_schjeldahl)
[23] Wayne Craven, American Art: History and Culture. p.464.
[24] accessed online August 28, 2007 (http:/ / www. jasonkaufman. com/ articles/ stuart_davis_american_modernist. htm)
[25] http:/ / www. comune. modena. it/ galleria/ exhibitions/ past-exhibitions/ 2005/ pop-art-italia-1958-1968-1
[26] http:/ / www. 8weekly. nl/ artikel/ 2701/ Dutch Pop Art & The Sixties

Further reading
• Lucy R. Lippard, Pop Art, with contributions by Lawrence Alloway, Nancy Marmer, Nicolas Calas, Frederick A.
Praeger, New York, 1966.

External links
• Brooklyn Museum Exhibitions: Seductive Subversion: Women Pop Artists, 1958–1968, Oct. 2010-Jan. 2011
(http://www.brooklynmuseum.org/exhibitions/seductive_subversion/)
• Brooklyn Museum, Wiki/Pop (http://www.brooklynmuseum.org/exhibitions/seductive_subversion/wiki/)
Article Sources and Contributors 9

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Springnuts, Sproink, Staeiou, Stephenb, Stevegallery, Steven J. Anderson, Stonewhite, Stroppolo, Stupid Corn, Sudsy57, SummerWithMorons, Sverdrup, Sweet xx, SwirlBoy39, Sycronltd,
Sylvea, Syp, THEN WHO WAS PHONE?, TMC1982, Tachyon01, Tapir Terrific, Tarheel95, Tarquin, Tassedethe, Tbhotch, Teapotgeorge, The Anome, The Evil Spartan, The Pop Doc, The
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Wexhammer, Wiki alf, Wiki-uk, Wikieditor06, Wikipedian2, Wikipelli, William Avery, Wknight94, Woogee, Xchbla423, Yamamoto Ichiro, Yourfatmum, Zacfry08, Zalgo, Zcmno3,
Zelmerszoetrop, Zenbabyhead, Zomno, Zone46, ZoopSoul, Zvn, 1690 anonymous edits

Image Sources, Licenses and Contributors


Image:Hamilton-appealing2.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Hamilton-appealing2.jpg License: unknown Contributors: User:Tyrenius
Image:Campbell's Tomato Juice Box. 1964. Synthetic polymer paint and silkscreen ink on wood.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Campbell's_Tomato_Juice_Box._1964._Synthetic_polymer_paint_and_silkscreen_ink_on_wood.jpg License: unknown Contributors: Andy
Warhol
Image:I was a Rich Man's Plaything 1947.jpg Source: http://en.wikipedia.org/w/index.php?title=File:I_was_a_Rich_Man's_Plaything_1947.jpg License: unknown Contributors: Photo file
created by Tate Gallery: London -- Original artwork created by Eduardo Paolozzi (b:1924-d:2005)
Image:Roy Lichtenstein Drowning Girl.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Roy_Lichtenstein_Drowning_Girl.jpg License: unknown Contributors: Artaxerex, Eceresa,
FirstPrinciples, Limideen, Modernist, Plrk, Sparkit, Stoshmaster, Vipinhari, Vrenator, Weirdy, 13 anonymous edits
Image:Jasper Johns's 'Flag', Encaustic, oil and collage on fabric mounted on plywood,1954-55.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Jasper_Johns's_'Flag',_Encaustic,_oil_and_collage_on_fabric_mounted_on_plywood,1954-55.jpg License: unknown Contributors:
DeadlyAssassin, Mocus22, Modernist, Wpearl, 2 anonymous edits
Image:Campbells Soup Cans MOMA.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Campbells_Soup_Cans_MOMA.jpg License: unknown Contributors: User:Hu Totya
Image:'Still Life -20', mixed media work by --Tom Wesselmann--, 1962, --Albright-Knox Gallery--.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:'Still_Life_-20',_mixed_media_work_by_--Tom_Wesselmann--,_1962,_--Albright-Knox_Gallery--.jpg License: unknown Contributors:
Modernist, Wmpearl, 1 anonymous edits
Image:WayneThiebaudThreeMachines.jpg Source: http://en.wikipedia.org/w/index.php?title=File:WayneThiebaudThreeMachines.jpg License: unknown Contributors: Adamsofen,
Cheakamus, Materialscientist, Modernist, VegitaU, 4 anonymous edits
Image:Soft Bathtub.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Soft_Bathtub.jpg License: GNU Free Documentation License Contributors: User:Postdlf
Image:Hockney, A Bigger Splash.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Hockney,_A_Bigger_Splash.jpg License: unknown Contributors: Amphytrite, Bkell, Cactus.man,
Calmer Waters, Gurch, J.delanoy, Modernist, Sparkit, Tyrenius, 6 anonymous edits
Image:Alex Katz's 1970 painting of his son 'Vincent with Open Mouth'.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:Alex_Katz's_1970_painting_of_his_son_'Vincent_with_Open_Mouth'.jpg License: unknown Contributors: DARTH SIDIOUS 2, DVdm,
Ethicoaestheticist, Fuzzy510, Modernist, Rettetast, Sparkit, Wikipelli, Wpearl, 5 anonymous edits
Image:'The Robe Following Her - 4', oil on canvas painting by Jim Dine, 1984-5.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:'The_Robe_Following_Her_-_4',_oil_on_canvas_painting_by_Jim_Dine,_1984-5.jpg License: unknown Contributors: Gurch, Modernist, Sdrtirs,
Wmpearl, 2 anonymous edits

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