Featuring works from artists in Latin America and its diasporas, Pop América intervenes in long-held conceptions of Pop Art’s geographic consolidations in the US and UK.
An exhibition at Musée Maillol demonstrates that Pop Art did not then, and does not now, matter — because it has never been a site of cultural resistance, but rather a scene of authoritarianism rooted in an affirmation of top-down corporate affluence.
Pop Stars! Popular Culture and Contemporary Art explores the imagery of celebrity culture and likens it to a religious experience.
When I first saw it in November I was immediately inclined to bemoan the fact that Deborah Kass’s canary yellow public sculpture “OY/YO,” installed on the Brooklyn waterfront in Dumbo, will not be there permanently.
CHICAGO — Three major exhibitions devoted to Pop art that opened last year broadened the purview of this movement as a primarily Western (American) phenomenon by unearthing lesser-known artists to provide a global view of art in the 1960s and ‘70s.
LONDON — The World Goes Pop is an exhilarating collection filled with fizzing energy, so its curatorial messiness can be forgiven.
CAMBRIDGE, Mass. — Among Pop art’s notable motifs are capitalism, consumerism, and now Catholicism.
Continuously creating since childhood, when he first cultivated a habit of collaging, British artist Eduardo Paolozzi boasts an oeuvre that is both prodigious and varied.
MINNEAPOLIS — We do not know what we do not know. That is precisely what the Walker Art Center’s exhibition International Pop makes clear — how much, heretofore, we did not know about the scope and practice of Pop art.
It’s strange to picture Andy Warhol curled up with a novel, but the eccentric pop artist “lived and breathed” books, according to Warhol by the Book, the first US museum exhibition to explore the literary side of his practice.
I wonder if the reason Rosalyn Drexler isn’t better known is because she is so good at so many different things. We recognize such mastery in men, but rarely in women.
PARIS — In a search for art that reacts to the inequalities of globalization, must art lose touch with the sort of grace that exceeds the hand, a grace that couldn’t be anything but artificial and technological?