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Bibliography, etc. Note Includes bibliographical references and index.
Formatted Contents Note Machine generated contents note: -- Introduction - Anne Massey and Alex Seago 1. Popular art , Pop Art , and 'the boys who turn out the fine art s' -- Catherine Moriart y 2. Cecil Beaton, Richard Hamilton and the Queer, Transatlantic Origins of Pop Art -- Dominic Janes 3. Althea McNish and the British African diaspora -- Christine Checinska 4. Programming Pop Art and Design -- Anne Massey 5. ARK Magazine: the Royal College of Art and early British Art School Pop -- Alex Seago 6. Prologue to Edward Wright, 'Chad, Kilroy, the cannibal's footprint and the Mona Lisa' first published in ARK 19 (Spring 1957) -- Ann Pillar Facsimile of art icle -- Edward Wright 7. Pauline Boty: Pop Art ist, pop persona, performing across the 'long front of culture' -- Sue Tate 8. A Dedicated Follower of Fashion' -- Alistair O'Neill 9. 'Where is this pop?' In Search of the British Pop Poster -- Rick Poynor and Alex Seago Index.
Summary, etc "This book offers the first in-depth analysis of the relationship between art and design, which led to the creation of 'pop'. Challenging accepted boundaries and definitions, the authors seek out various commonalities and points of connection between these two exciting areas. Confronting the all-pervasive 'high art / low culture' divide, Pop Art and Design brings a fresh understanding of visual culture during the vibrant 1950s and 60s. This was an era when commercial art became graphic design, illustration was superseded by photography and high fashion became street fashion, all against the backdrop of a rapidly-evolving economic and political landscape, a glamorous youth scene and an effervescent popular culture. The book's central argument is that pop art relied on and drew inspiration from pop design, and vice versa. Massey and Seago assert that this relationship was art iculated through the art work, design, publications and exhibitions of a network of key practitioners. Pop Art and Design provides a case study in the broader inter-relationship between art and design, and constitutes the first interdisciplinary publication on the subject"-- Provided by publisher.
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ISBN 978-1-4742-2619-6 (hardback)
Waiting
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*24500$aPop art and design /$cedited by Anne Massey and Alex Seago.
*300 $a208 pages ;$c25 cm
*504 $aIncludes bibliographical references and index.
*5058 $aMachine generated contents note: -- Introduction - Anne Massey and Alex Seago 1. Popular art , Pop Art , and 'the boys who turn out the fine art s' -- Catherine Moriart y 2. Cecil Beaton, Richard Hamilton and the Queer, Transatlantic Origins of Pop Art -- Dominic Janes 3. Althea McNish and the British African diaspora -- Christine Checinska 4. Programming Pop Art and Design -- Anne Massey 5. ARK Magazine: the Royal College of Art and early British Art School Pop -- Alex Seago 6. Prologue to Edward Wright, 'Chad, Kilroy, the cannibal's footprint and the Mona Lisa' first published in ARK 19 (Spring 1957) -- Ann Pillar Facsimile of art icle -- Edward Wright 7. Pauline Boty: Pop Art ist, pop persona, performing across the 'long front of culture' -- Sue Tate 8. A Dedicated Follower of Fashion' -- Alistair O'Neill 9. 'Where is this pop?' In Search of the British Pop Poster -- Rick Poynor and Alex Seago Index.
*520 $a"This book offers the first in-depth analysis of the relationship between art and design, which led to the creation of 'pop'. Challenging accepted boundaries and definitions, the authors seek out various commonalities and points of connection between these two exciting areas. Confronting the all-pervasive 'high art / low culture' divide, Pop Art and Design brings a fresh understanding of visual culture during the vibrant 1950s and 60s. This was an era when commercial art became graphic design, illustration was superseded by photography and high fashion became street fashion, all against the backdrop of a rapidly-evolving economic and political landscape, a glamorous youth scene and an effervescent popular culture. The book's central argument is that pop art relied on and drew inspiration from pop design, and vice versa. Massey and Seago assert that this relationship was art iculated through the art work, design, publications and exhibitions of a network of key practitioners. Pop Art and Design provides a case study in the broader inter-relationship between art and design, and constitutes the first interdisciplinary publication on the subject"--$cProvided by publisher.
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*650 7$aDESIGN / History & Criticism.$2bisacsh
*650 7$aDESIGN / Graphic Art s / General.$2bisacsh
*650 7$aART / Criticism & Theory.$2bisacsh
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*950 $aGrafiska profiler$wh$uGrafisk formgivning
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This book offers the first in-depth analysis of the relationship between art and design, which led to the creation of 'pop'. Challenging accepted boundaries and definitions, the authors seek out various commonalities and points of connection between these two exciting areas.Confronting the all-pervasive 'high art / low culture' divide, Pop Art and Design brings a fresh understanding of visual culture during the vibrant 1950s and 60s. This was an era when commercial art became graphic design, illustration was superseded by photography and high fashion became street fashion, all against the backdrop of a rapidly-evolving economic and political landscape, a glamorous youth scene and an effervescent popular culture. The book's central argument is that pop art relied on and drew inspiration from pop design, and vice versa. Massey and Seago assert that this relationship was articulated through the artwork, design, publications and exhibitions of a network of key practitioners. Pop Art and Design provides a case study in the broader inter-relationship between art and design, and constitutes the first interdisciplinary publication on the subject.