Pop art was essential to the Americanization of global art in the 1960s, yet it engendered resistance and adaptation abroad in equal measure, especially in Paris. From the end of the Algerian War of Independence and the opening of Ileana Sonnabend’s gallery for American Pop art in Paris in 1962, to the silkscreen poster workshops of May ’68, this book examines critical adaptations of Pop motifs and pictorial devices across French painting, graphic design, cinema and protest aesthetics. Liam Considine argues that the transatlantic dispersion of Pop art gave rise to a new politics of the image that challenged Americanization and prefigured the critiques and contradictions of May ’68.
Author(s): Liam Considine
Series: Routledge Research in Art History
Publisher: Routledge
Year: 2019
Language: English
Pages: 184
Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication
Table of Contents
List of Figures
List of Plates
Acknowledgements
Introduction: New Realisms
The Invisible Revolution
New Realisms
Notes
1. Disaster in Paris
The Automotive Revolution
The Object-Sign
Deus Ex Machina
Advertising Art
Advertising in the Museum
Notes
2. Myth Today
Colonizing Images
Everyday Mythologies
Man Must Be Everyday
Notes
3. Made in USA: Godard’s Pop Tableaux
The Screen and the Frame
Plans-tableaux
Star Power
Straight Color, ‘Pop’ Art
A World in Harmony With Our Desires
“Pop Art Should Not Be Underestimated”
Another Politics
Notes
4. Popular Literature of Our Century
Pop/Popular Art
Words Take On New Meaning
Minor and Deceptive Détournement
“Détournement du Pop-art”
“New Forms of Action Against Politics and Art”
Narrative Figuration in Contemporary Art
Comics par Réalisation Directe
Notes
5. Screen Politics
Run Comrade, The Old World Is Behind You!
Atelier Populaire: Oui; Atelier Bourgeois: Non
The Screen and the Frame
The Image of The Image
Notes
Afterword: One Is No One
Notes
Select Bibliography
Index
