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The new Pop Art Gallery, with its new interpretation of POP (Paint On Print), offers a completely new kind of pop art. Artists such as Warhol and Lichtenstein picked up industrial production and printing processes and caricatured them by creating industrial advertising as individual art, or they reduced the technique of four-color printing to their very own presentation of the image pixels.
Paint on Print now reverses this path: industrially manufactured products are subsequently customized and perfected in elaborate handwork. Also in contrast to the industrial methods, the artwork is limited, each artwork title and size is used only 500 times,. Each work of art is accompanied by a certificate of authenticity, signed by the artist, and each work is hand signed and numbered, and thus a unique one. In addition to that both work and certificate are secured by a hologram security sticker.
Jasper Johns. Pop Art Forerunner. The Art of America Documentary clip.
American painter and printmaker, forerunner of Pop art, who uses commonplace emblematic images such as flags or numbers as the starting-point for works of great richness and complexity.
Andrew Graham-Dixon charts the history of American art on a coast-to-coast journey.
Part 3 – WHAT LIES BENEATH
In the final part of his United States odyssey, Andrew Graham-Dixon feels the pulse of contemporary America.
In the final part of his United States odyssey, Andrew Graham-Dixon feels the pulse of contemporary America. Beginning in Levittown – the first mass-produced suburb – Andrew uncovers the dark side of post-war consumerism and the role artists have played in challenging the status quo.
He visits New York’s Metropolitan Museum to see the most subversive artwork of 1950s America, Jasper Johns’s White Flag. Pop art defined the 1960s and Andy Warhol was its greatest artist. Andrew examines Warhol’s soup can paintings, meets his former lover Billy Name and interviews one of the last great surviving pop artists, James Rosenquist.
He travels west down the open road, exploring its art, arriving in Los Angeles, an artificial dream world that has inspired the graphic style of Ed Ruscha and the city’s own unique contribution to 20th century design – Googie architecture.
Back east, Andrew visits the home of one of his favourite 20th century artists, the late Philip Guston, and gets a private view of his work. He drops into the studio of Jeff Koons to learn how the enfant terrible of contemporary art continues to challenge the boundaries of American taste. Finally, he explores the impact 9/11 has had on America and how a new generation of artists, such as Matthew Day Jackson, have made sense of this tragic event.
Brian Sewell Big Art Challenge UK Art Prize Full Series:
Understanding Contemporary Art Full Course:
Art After Metaphysics:
Naked Emperors: Criticisms of English Contemporary Art: