Location
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Title Statement The long march of pop : art , music, and design, 1930-1995
Publication, Distribution, etc. (Imprint) Yale University Press, New Haven ; London : [2014]
Dewey Decimal Classification Number
SAB Classification Code
Physical Description ix, 412 pages : illustrations (some color) ; 28 cm
Bibliography, etc. Note Includes bibliographical references and index.
Summary, etc "Thomas Crow's paradigm-changing book challenges existing narratives about the rise of Pop Art by situating it within larger cultural tides. While American Pop was indebted to its British predecessor's insistence that any creative pursuit is worthy of aesthetic consideration, Crow demonstrates that this inclusive attitude also had strong American roots. Folk becomes Crow's start ing point in the advance of Pop. The folk revival occurred chiefly in the sphere of music during the 1930s and '40s, while folk art surfaced a decade later in the work of Jasper Johns and Robert Rauschenberg. Crow eloquently examines the subsequent explosion of commercial imagery in visual art , alongside its repercussions in popular music and graphic design. Pop's practitioners become defined as art ists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young part icipants in the politicized 1960s counterculture. Woody Guthrie and Roy Lichtenstein, Andy Warhol and Bob Dylan, Ed Ruscha and the Byrds, Pauline Boty and the Beatles, the Who and Damien Hirst are all considered together with key graphic designers such as Milton Glaser and Rick Griffin in this engaging book."-- Provided by publisher.
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Subject - Topical Term
ISBN 0-300-20397-7 (hardback) 978-0-300-20397-4 (hardback)
Waiting
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*300 $aix, 412 pages :$billustrations (some color) ;$c28 cm
*504 $aIncludes bibliographical references and index.
*520 $a"Thomas Crow's paradigm-changing book challenges existing narratives about the rise of Pop Art by situating it within larger cultural tides. While American Pop was indebted to its British predecessor's insistence that any creative pursuit is worthy of aesthetic consideration, Crow demonstrates that this inclusive attitude also had strong American roots. Folk becomes Crow's start ing point in the advance of Pop. The folk revival occurred chiefly in the sphere of music during the 1930s and '40s, while folk art surfaced a decade later in the work of Jasper Johns and Robert Rauschenberg. Crow eloquently examines the subsequent explosion of commercial imagery in visual art , alongside its repercussions in popular music and graphic design. Pop's practitioners become defined as art ists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young part icipants in the politicized 1960s counterculture. Woody Guthrie and Roy Lichtenstein, Andy Warhol and Bob Dylan, Ed Ruscha and the Byrds, Pauline Boty and the Beatles, the Who and Damien Hirst are all considered together with key graphic designers such as Milton Glaser and Rick Griffin in this engaging book."--$cProvided by publisher.
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An original and insightful new history of Pop Art from one of the most important art historians of our time