Summary Of The Shock Of The New By Robert Hughes

Pop Art emerged in Britain in the late 50’s and the United States in the early 60’s.(Mamiya 1992) Pop Art is generally known today as a representation of celebrating popular culture and consumerism, however it’s background and origins are far more broad and extensive. There are many factors and influences that lead to the creation of the Pop Art movement such as adjusting to life after World War II, new technological advances that lead to mass cooperate growth, the evolution of Abstract Expressionism and also social issues in the media such as feminism. (Smith 2001; Mamiya 1992) Many of these factors overlap and act as a catalyst in the creation of Neodadaism and eventually Pop Art. (Livingstone 1992) Pop Art does not have a soul distinct style nor just one major influence and this can be proven by looking at key artists of the movement such as Roy Lichtenstein, Andy Warhol, Claes Oldenburg and James Rosenquist as well as female Pop artists such as Martha Rosler. (Brauer, Edwards, Finch & Hopps 2001) Exploring these artists and the major influences of their work will break down Pop Art and establish the movement’s purpose as well as its evolution.

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

In the same manner that capitalism has been heralded as the “end of history,” has art under the current age of capitalist globalization come to an end as well? In an exchange between two artists, rapper M.I.A and portrait painter Kehinde Wiley for Interview magazine, art has come to its demise, at least in the United States. In claiming such a death of art, both artists used their personal experiences and observations to make a comparative evaluation of the state of art in New York and in developing countries they have visited. This paper analyzes the rhetorical techniques used by both artists – ethos, pathos, and logos – in problematizing what is wrong with the contemporary art scene at the moment.

Throughout history, art has changed and transformed dramatically as empires have fallen and new civilizations have formed. There have been many different forms of art and extremely different tastes of art based on which civilization you decide to focus on. According to this opinion, out of all the different types of art, “the highest form of art is realism.” The writer then claims how many civilizations have undergone intellectual and creative declines when creating unrealistic art. This, of course, is simply an opinion, but the the thoughts and ideas of this writers bring up many intriguing questions about art and how society perceives art.

A massive artistic change begins with a sense of something about this is wrong. The next step is anger against the wrong and a decision to rectify it. Later, the anger and need for change bleed into every artistic form to revolutionize culture itself. There is no better example of a counter-culture movement than America in the 1960’s, as defiance of previous social norms took place in the Civil Rights movement, the beginning of feminism, and the construction of a radical “hippie” lifestyle. Through cultural changes came rapid controversial evolution in the arts, particularly in music and fashion.

The way we see and perceive this art is predetermined by a variety of different factor ranging from cultural background to socioeconomic status. “A people or a class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. This is why -- and this is the only reason why -- the entire art of the past has now become a political issue” (J. Berger pg. 33) He argues that if a group of people are robbed of being able to create their own culturally relative and socially correct standards for art, then they are being oppressed from engaging as political equals. People use art to understand their place within world history and create social and political meaning for themselves or their culture. Art gives you the power to control how people perceive the past, the present and possibly even the future. Although now the ability to control what art people see isn’t as “regulated” as it once was, but prior to the invention of the camera and the internet, art was controlled by the minority of the elite and wealthy. “the art of the past is being mystified because a privileged minority is striving to invent a history which can retrospectively justify the role of the ruling classes and such a justification can no longer make sense in modern terms” (J. Berger, Pg.157). The upper class mystifies the general population to stay in control; without the ability to see things through our own eyes, people are being deprived of their right to understanding themselves and placing themselves in a role of society. Mystification contributes a negative influence on our society. Mystifying of art distinguish upper class and low class, and more importantly causes the past of certain groups and cultures, such as women,

Cultural historians often ask how the preoccupations of an era shape a society. And the best insights are revealed, not through the clarity of connection, the union of expression or the dominant ideology, but through the chaos and rupture caused by the dissenting voice. It is often when an artist is most at odds with his or her world, most subject to critical debate, that we glimpse the dominant values of society, giving way to the cultural conscience of the time. "One of the artist's and humanist's greatest value to a society is in the mirror of self-examination which they raise so that society can become aware of its short-comings as well as its strengths," stated the 1965 Senate Report on the establishment of the National

Many of the Avante Garde contemporary art were either laughed about in cartoon strips, puzzled viewers or made them angry. The American people felt the European art often relished by wealthy art connoisseurs was a step backward in American culture. Moreover, several Americans found the primitive, distorted imagery threatening to American civilization and the United States progress. Also many American’s were afraid the art form itself represented an adaptation to modern society.

- The lines of traditional art have blurred over the years as new artistic movements have appeared and transformed the notion of what is considered art. As these movements have revolutionized the art world, popular culture has branched off from art, causing a shift; art is no longer a representation of popular culture and visa versa. In contemporary society art doesn’t exist to win any popularity contests, it exists to please the viewer, and is often deemed art by highly acclaimed art critics who don't speak from a popular culture standpoint. Art highly regarded by critics often goes against the grain and makes a statement, while popular culture is dictated by what the general public likes,

This theory provoked my insight about contemporary art itself. One’s observation could be right, could be wrong, this is the etiquette beauty of art. For if one thinks about it what is the norm? We can't possibly apply our prototypes of norm towards art, because are our norms even norm? Contemporary art is a statement, a reaction, an attempt at breaking free, an expression of the issues wrapped up to define the lifestyle of today.

Throughout Art History, it is apparent that techniques are established and flaunted to create some vivid image of a story, or a message. Up to the post war of World War II, art has delivered a scene which can be interpreted through context clues such as; current philosophies, current events, and folk-lore. Then, mainstream art had undergone a significant change in theme post World War II. New York City, United States of America, became the art capital of the world. Why? It is arguably due to Abstract Expressionist art and Pop Art known as Modernism. Modernism completely new to the world, and both of which abandoning some common core themes to art. Two famous artists whom facilitated and practiced such dramatic alterations in art culture are Paul Jackson Pollock, or just known as Jackson Pollock, and Andy Warhol.

Andy Warhol is most frequently recognized by some of his popular silkscreen art pieces such as “Marilyn Diptych.” People recognize the iconic art pieces he left behind without truly understanding the impact of his artwork. He was able to connect artwork with the public figures of his time. Andy Warhol’s artwork had a significant impact on 1960’s American culture. Andy Warhol’s work turned the art world on its heels when he entered the scene.

In this era, magazines were a predominant source of information for the art world. Inevitably, Artforum, a renowned publication of artworks in New York, became more valuable economically and established enough authority to define who and what were the artistic trendsetters. Several artists were upset by the promotional aspect and exclusion of art in this media and inevitably rebelled against it by“appropriating [the magazine’s power] as a new kind of medium and exhibition space” (Allen 13). Thus, art progressed from a traditional form into one consisting of compositions which bore resemblance to advertisements, lists, maps and other unusual forms of data-based art (Allen 15). Artists’ newfound works of text became its own artistic documentation. Ultimately, Conceptualism challenged the boundaries of art and enforced new ideas of production. It turned the literal into an expressive state and allowed for people who were not artists to engage with the work (which dealt with political turmoil) and also opened up the opportunity to construct their own. The movement is still prevalent in current times and acts as a means for spreading awareness of social and political concerns--the same holds true for Frances Stark’s video

In order to discuss pop art I have chosen to examine the work and to some extent lives of Roy Lichtenstein and Andy Warhol who were two of the main forces behind the American movement. I intend to reflect the attitudes of the public and artists in America at this time, while examining the growing popularity of pop art from its rocky, abstract expressionist start in the 1950s through the height of consumer culture in the 60s and 70s to the present day.

Although controversial, the young British artists (YBAs) featured in Charles Saatchi's 1997 exhibition Sensation, utilised the media-savvy nature of their patron to expose a plethora of political, social and economic concerns. However, conservative critic, Julian Stallabrass, underestimates their form of ethically significant, transgressive art as "little more than an inflated PR exercise" (1998, p. 10). Hence, his unconventional review of Sensation, High Art Lite at the Royal Academy (Stallabrass, 1998), insufficiently argues that the collective is fundamentally disingenuous due to their portrayal of Britain's working class culture, and their adoption by high art institutions (pp. 79- 84).