Konstfacks bibliotek

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*00139549
*00520150310030858.0
*008140414s2014    ctua     b    001 0 eng
*010  $a2014013081
*015  $aGBB4B3092$2bnb
*0167 $a016890321$2Uk
*020  $a0-300-20397-7 (hardback)
*020  $a978-0-300-20397-4 (hardback)
*035  $a(SE-LIBR)17262911
*035  $a(Ko)44628
*040  $aDLC$beng$erda$cDLC$dYDX$dYDXCP$dBTCTA$dBDX$dERASA$dOCLCF$dUKMGB$dOCLCO$dIXA$dS
*042  $apcc
*05000$aN6494.P6$bC76 2014
*08200$a700.9/04$223
*084  $aI$2kssb/8 (machine generated)
*1001 $aCrow, Thomas E.,$d1948-
*24514$aThe long march of pop :$bart, music, and design, 1930-1995 /$cThomas Crow.
*260  $aNew Haven ;$aLondon :$bYale University Press,$c[2014]
*300  $aix, 412 pages :$billustrations (some color) ;$c28 cm
*504  $aIncludes bibliographical references and index.
*520  $a"Thomas Crow's paradigm-changing book challenges existing narratives about the rise of Pop Art by situating it within larger cultural tides. While American Pop was indebted to its British predecessor's insistence that any creative pursuit is worthy of aesthetic consideration, Crow demonstrates that this inclusive attitude also had strong American roots. Folk becomes Crow's starting point in the advance of Pop. The folk revival occurred chiefly in the sphere of music during the 1930s and '40s, while folk art surfaced a decade later in the work of Jasper Johns and Robert Rauschenberg. Crow eloquently examines the subsequent explosion of commercial imagery in visual art, alongside its repercussions in popular music and graphic design. Pop's practitioners become defined as artists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young participants in the politicized 1960s counterculture. Woody Guthrie and Roy Lichtenstein, Andy Warhol and Bob Dylan, Ed Ruscha and the Byrds, Pauline Boty and the Beatles, the Who and Damien Hirst are all considered together with key graphic designers such as Milton Glaser and Rick Griffin in this engaging book."--$cProvided by publisher.
*599  $aImported from: zcat.oclc.org:210/OLUCWorldCat (Do not remove)
*648 7$a1900-talet$2sao
*648 7$a1900 - 1999$2fast
*650 7$aKonst och musik$2sao$0250226
*650 7$aPopkonst$2sao
*650 7$aKonst och samhälle$2sao
*650 0$aPop art.
*650 0$aArt and music$xHistory$y20th century.
*650 0$aArts and society$xHistory$y20th century.
*650 7$aART / History / Modern (late 19th Century to 1945).$2bisacsh
*650 7$aART / History / Contemporary (1945-).$2bisacsh
*650 7$aHISTORY / Social History.$2bisacsh
*650 7$aArt and music.$2fast
*650 7$aArts and society.$2fast
*650 7$aPop art.$2fast
*650 0$aPop art
*650 0$aArt and music
*650 0$aArt and society
*655 7$aHistory.$2fast
*841  $5Ko$ax  a$b150225||0000|||||001||||||000000$e1
*852  $5Ko$bKo$hKONST - Ib.5$lCRO
*950  $wg$aModern konst$uPopkonst
*950  $aFotorealism$wh$uPopkonst
*950  $aMusik och konst$uKonst och musik
*950  $aMusik i konsten$uKonst och musik
*950  $aSamhälle och konst$uKonst och samhälle
*950  $aArkitektur och samhälle$wh$uKonst och samhälle
*950  $aKonst och politik$wh$uKonst och samhälle
*950  $aKonstpolitik$uKonst och samhälle
^

An original and insightful new history of Pop Art from one of the most important art historians of our time

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 starting 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 artists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young participants 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.