Warhol's Soup Cans

The pop movement established itself during the rapid multinational corporate American expansion of the late 1950’s to mid-1960’s (Mamiya 1992, 14). Recognised for their study of subjects of popular culture and incorporation of “commercial techniques.” (Burton 2007, 113), Pop artists embraced “the culture of the masses” (Wilson 2011, 3). Although the Pop artists remained critically aware of the shortcomings within consumer culture their entanglement with the mentality and techniques of the culture “…surely rendered any potential for critique futile and invalid." (Mamiya 1992, 158). This essay will explore the interplay between critique and celebration of consumer culture within Pop Art and possible reasons for the diversity in reaction. This will be achieved through the study of the influence of consumer culture on the Pop artists, the artists’ response to this emerging culture, as well as the positive and critical representations of consumer culture within their work. The complex and contradictory relationship between consumer culture and pop artists will be explored through Richard Hamilton’s Just what is it that makes today’s homes so different, so appealing? (1956), Andy Warhol’s Campbell’s Soup Cans (1962) and Tom Wesselmann’s Great American Nude #54 (1964).

I began to feel as though I have become a trendy New Yorker visiting an art gallery. As a marketing major my favorite part of my major is learning about different types of advertising campaigns, which was the inspiration behind Hoerle-Guggenheim gallery. This gallery’s work of art is called the Market Makers and was created by an artist named Jan Larsen. Larsen’s art gallery is a reflection on the market’s commerce and shows how each era had a different way of advertising through mass marketing. Lance had created these pieces of art to show how different the media and businesses have changed over time from the 50s to the 60s

Andy Warhol Warhol was successful in bringing a new form of art to the forefront of an ever changing artworld in the 1960`s. I am interested in the field of commercial and graphic art and it's connection to advertising.

Andy Warhol, birth name Andrew Warhola, began his life on August 6 1928 with his Czechoslovakian parents in Pittsburgh. Warhol ‘1928-1987’ was an American artist who was an important member of the visual art movement known as pop art. Throughout his career the artist also worked across a number

Andy Warhol created irony by breaking rules, incorporating culture, and fashioning ambiguity, which was accepted by the art world. Pop Art developed as a response to Abstract Expressionism. Warhol believed that the work shaped by Abstract Expressionists, was disaffecting patrons(laymen) as it only seemed to be understood by the high art community. Alternatively, Pop Art is based on imagery of popular culture and consumerism, resulting in a larger audience to respond critically. Since there is a recurring concept of advertisement in Warhol’s art, images of consumer products, celebrities, and news stories are mass produced to highlight the process of mass production. Conversely, in high art, pieces are considered exceptional. Warhol’s art challenges the status quo; he obfuscates the preconceived notions of high art, by introducing commerce into the conversation regarding the execution and subject matter of the art. Warhol’s repeated images, suggest that the artist’s painting abilities are insignificant. To Warhol, the idea matters the most, as opposed to the production of the work. Because advertisement has effect on people—the repeated images reinforce the idea that the more one sees these images, the more the consumer becomes desensitized to them. Warhol was rather vague about the meaning behind his works, since he left the task to the viewer’s interpretation.

What does it mean to ‘read the visual’? What do you understand by the term ‘visuality’? Using a photograph or single image, explore the relationship between seeing and being, as it applies to visual phenomena. Include a copy of the image.  To read the visual, one must look past the initial

Post World-War II, mass media had a profound impact on European and American artistic practices. As a result of the war, the U.S. was at the center of the international stage, and American visual culture began being consumed worldwide. This made it a relevant, accessible and common ground for international artists. American Pop artists, like Andy Warhol, sought to use common culture eliminate the division between high and low aesthetics. Warhol’s use of high culture and mediums, such as his use of famed icon Marilyn Monroe and his oil paintings, mixed with his use of low culture and mediums, like his imagery of the ubiquitious Campbell’s Soup cans and his factory produced posters, blurred this line, making the once inaccessible high culture,

Conflicting Perspectives The question of representation and meaning when it comes to artistic works of any sort many seem a simple question and answer to many people but the answers are actually elusive and the question itself is quite likely specious and misleading on its face. This text will examine why this is likely to be the case.

The processes of looking closely and thinking critically about visual texts are important to art and design practices because they allow us to develop our own ideas about a visual text. Often artists leave their work open to interpretation, with only a vague title to supply context. Thinking critically enables the audience to come up with their own theories about an

Visual Literacy in Picture Books The topic I selected for this paper is visual literacy specifically when dealing with picture books and young students. Visual literacy can be defined as “the ability to interpret, recognize, appreciate and understand information presented through visible actions, objects and symbols, natural or man-made” (Common Core

Television, film, Internet and advertising are Very strongly on the power of images and illustrations. Images are not Words, which communicate most deeply, and when an image is combined with Words, as is the case in a comic strip, they become secondary, but the language of images remains fundamental. Visual literacy - the ability to interpret the meaning of illustrations of different types to read images - is seen as part of development of reading in children. Sees visual literacy as an important aptitude in the school curriculum and describes visual literacy in the Courses such as Read images in the world around us - often commercial Reading images in books Use visual images to help read simple texts Read symbols and photographs in the school environment Classroom to promote literacy. Create meaningful visual images to record understanding of stains. Use photographs in non-fiction texts to help learning of subjects of

Libby Castellani Holly Vaughn GRA 1109C 17 October 2012 Stefan Sagmeister: An Influential Designer In today’s art world there seems to be a large gap that separates fine art from commercial art. Often there is a disconnected coldness associated with those who work in communications art and produce art for clients. As if all emotion and feeling is stripped from commercial artwork merely because it was created with the intention of pleasing a client. Stefan Sagmeister bridges the gap in the art industry by redefining commercial design as a personal, emotional, and deep art. While Sagmeister’s work encompasses a vast spectrum of mediums such as, album covers, logos, installations, and posters it is his philosophy on design that

Complexities of Image and Text Relations Illustration is a popular aspect in literature, and can be found in all genres and forms. Although it is sometimes more heavily associated with children’s books – such as illustrated stories, there are large amounts of illustrated work that are designed specifically for an adult

Denotation is described as the definitional, ‘literal’ or ‘obvious’ meaning of a sign according to the art historian Erwin Panofsky (Hasenmueller 1978). The denotation of a representational visual image is what all viewers from any culture and at any time would recognise the image as depicting (Hasenmueller 1978). As Roland Barthes noted, De Saussure created a model of signs that focused on denotation at the expense of connotation and it was left to subsequent theorists to offer an account of this important dimension of meaning (Barthes

Language and Art share many similar tendencies. In language, as with earlier forms of Art, representation plays a large role. Language acts as a representation of some elaborate envisioned concept(s), Writing as a representation of a sounded phonic language, and Art as a representation of some subject(s). Within these mediums