(left) Francis Bacon (British, 1909-1992), Head Surrounded by Sides of Beef, 1954, British Existential Figuration; (right) Eduardo Paolozzi (British, 1924-2005), Real Gold, collage, 14 x 19

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(left) Francis Bacon (British, 1909-1992), Head Surrounded by Sides of Beef, 1954, British Existential Figuration; (right) Eduardo Paolozzi (British, 1924-2005), Real Gold, collage, 14 x 19

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Title: (left) Francis Bacon (British, 1909-1992), Head Surrounded by Sides of Beef, 1954, British Existential Figuration; (right) Eduardo Paolozzi (British, 1924-2005), Real Gold, collage, 14 x 19


1
(left) Francis Bacon (British, 1909-1992), Head
Surrounded by Sides of Beef, 1954, British
Existential Figuration (right) Eduardo Paolozzi
(British, 1924-2005), Real Gold, collage, 14 x
19, 1950, British Pop
2
The Blitz From September 7 1940 through May
1941, the German Luftwaffe bombed British cities,
especially London, almost nightly. Here London
fire fighters extinguish flames following an air
raid during. More than 43,000 deaths and
1,400,000 people made homeless
3
(left) Eduardo Paolozzi, Its a Psychological Fact
That Pleasure Helps Your Disposition, 1948,
collage. Affirmative or adversarial
(avant-garde) posture? Shown in his influential
1952 Bunk lecture that marks the beginning of
British Pop. Bunk is from Henry Ford history
is more or less bunk.we want to live in the
present. (right) Hannah Höch, The Beautiful
Girl, collage (photomontage), 1919, Berlin
DadaAdversarial posture toward commercial culture
4
(left) Richard Hamilton, Just What is it That
Makes Today's Homes So Different, So Appealing?
Collage (photomontage), 10 x 9, 1956, British Pop
1964
5
The Independent Groups This is Tomorrow
exhibition, 3 installation views, 1956,
Whitechapel Gallery (Institute of Contemporary
Art) London
6
Richard Hamilton, (left) Towards a Definitive
Statement on the Coming Trends in Men's Wear and
Accessories (a) Together Let Us Explore the Stars
1962 (right) he, 1958-61, both oil collage on
canvas, British Pop
7
(left) Hamilton, The Large Glass or The Bride
Stripped Bare by her Bachelors, Even, 1963, an
exact copy and homage to (right) Marcel Duchamp,
The Large Glass or The Bride Stripped Bare by her
Bachelors, Even 1915-23 (center) Photo of
Duchamp by Hamilton, c. 1968
8
HANS NAMUTH, 25th Anniversary of Leo Castelli
Gallery, The Odeon, New York 1982Standing left
right Ellsworth Kelly, Dan Flavin, Joseph
Kosuth, Richard Serra, Lawerence Weiner,
Nassos Daphnis, Jasper Johns, Claes Oldenberg,
Salvatore Scarpitta, Richard Artschwager, Mia
Westerlund Roosen, Cletus Johnson, and Keith
SonnierSeated left right Andy Warhol, Robert
Rauschenberg, Leo Castelli, Ed Ruscha, James
Rosenquist, and Robert Barry
9
Andy Warhol (American, 1928-1987), Bonwit Teller
window decor, NY, April 1961 (left) Dick
Tracy, 1960, casein and crayon, 48 high A Boy
for Meg, 1962oil on canvas, 72 high
10
Andy Warhol, Campbells Soup Cans, 1962, acrylic
on canvas, 32 works, each 20x16Pop Art (lower
right) Ferus Gallery, Los Angeles, 1962.
Warhols first gallery show.
11
Jasper Johns (American, b.1930), Painted Bronze,
hand painted cast bronze, 1960, Proto-Pop
(Neo-Dada) (right) Warhol, Campbell Soup Can,
1968, Pop Art
12
Andy Warhol and Gerard Malanga silk-screening in
The Factory, 1967, located on the fifth floor at
231 East 47th Street, in Midtown Manhattan. The
Factory moved to 33 Union Square West in 1967.
13
(right) Warholstars group portrait by Gerard
Malanga, 1968(?) (left) film still and poster
for Warhol's film Exploding Plastic Inevitable,
1966, with the Velvet Underground. The Andy
Warhol Museum owns 273 Warhol films and almost
4,000 videotapes.
If you want to know all about Andy Warhol, just
look at the surface of my paintings and films
and me, and there I am Theres nothing behind
it. - Andy Warhol
14
Warhol, (left) Gold Marilyn Monroe, 1962,
acrylic, silkscreen and oil on canvas (right)
Marilyn, 1962. Series followed Monroes
(probable) suicide in August 1962.
15
Andy Warhol, Marilyn Diptych, 1962, acrylic
silkscreen on canvas
16
Warhol, (left) Jackie, The Week That Was, 1963
(right) Suicide 1963, Acrylic and silkscreen, 6
ft high
17
Warhol, Five Deaths Eleven Times in Orange,
synthetic polymer paint, silk-screened on canvas,
1963
18
Warhol, (left) Lavender Disaster, 1971 (right
top and below) Electric Chair, 1971,
screenprints. Everything I do is connected with
death. (Warhol, 1978)
19
Andy Warhol, Brillo Box, 1964, acrylic and
silkscreen on plywood, 17 x 17 x 15 in
At the Tate Modern the conundrum
  • Greenbergs narrative comes to an end with Pop
    It came to an end when art came to an end, when
    art, as it were, recognized there was no special
    way a work of art had to be. - Arthur Danto
    (1964)
  • After the End of Art, 1997
  • Is an endless playing with the definition of art
    all that art now has to offer?
  • - Charles Harrison
  • Conceptual Art (Themes)

20
Roy Lichtenstein (American, 1923-1997), cover of
Newsweek, 1966, New York Pop Art
21
Roy Lichtensteins educational background (left)
Reginald Marsh (Lichtensteins teacher at the Art
Students League, NYC), Why Not Take the L?,
oil on canvas, 1930 (right) Flash Lab, Ohio
State, where Lichtenstein studied 1942-44
22
Roy Lichtenstein, Girl With a Ball, 1960 compare
with Andy Warhol, Dick Tracy, 1960, New York Pop
Art
23
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24
Roy Lichtenstein, WAAM! 1963, Magna on canvas, 2
panels 68 x 166 inches overall source, Men at
War comic book, 1962
Lichtenstein was not painting things but signs
of things. Fineberg
25
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26
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27
http//www.nytimes.com/indexes/2008/03/09/style/t/
index.htmlpageName09Turnpage
http//www.nytimes.com/indexes/2008/03/09/style/t/
index.htmlpageName09Turnpage
28
James Rosenquist, President Elect, oil on
masonite, 12 feet wide, 1960-1 (New York Pop
Art) (right) mockup for painting and (below)
artist in studio Im interested in
contemporary fission the flick of chrome,
reflections, rapid associations, quick flashes of
light. Big-bang! Bing-bang! I dont do
anecdotes I accumulate experiences.
29
Rosenquist,(left) right left halves of F-111,
installation, oil on canvas and aluminum, 10 by
86 feet, 1964-5, The Museum of Modern Art, NY
30
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31
Marisol, (left) Bob Hope, wood (carved,
assembled, pencil and paint), 1967 (right) Hugh
Hefner, 1967, wood, paint, mixed media
32
Marisol Escobar (Marisol Escobar) (American, born
France, 1930, to Venezuelan parents) The Cocktail
Party, an assemblage of 15 free-standing figures
and wall panel with carved and painted wood,
cloth, plastic, shoes, jewelry, mirror,
television set and other accessories, 1965-6
33
Claes Oldenburg, Snapshots from the City,
performance with first wife, Pat Muschinski, at
Judson Gallery, Judson Memorial Church, New York.
February 29, March 1-2, 1960. Performance /
Happening at Oldenburgs Ray Gun
Theater(right) The Street installation 1960
34
Claes Oldenburg, The Store, Dec. 1, 1961 - Jan.
31, 1962, Ray Gun Mfg. Co., 107 East Second
Street, New York. Roast Beef, 1961, inside
studio/store (with artist), view looking out,
poster, Green Gallery sponsor.
I am for an art that is political-erotic-mystical
, that does something other than sit on its ass
in a museum
35
Claes Oldenburg (American, born Sweden, 1929).
Pastry Case, I. 1961-62. Painted plaster
sculptures on ceramic plates, metal platter and
cups in glass-and-metal case, 21 x 30 x 15," New
York Pop Art "I make my work out of my everyday
experiences, which I find as perplexing and
extraordinary as can be. Oldenburg, 1960
36
Claes Oldenburg. (American, born Sweden, 1929).
Green Gallery Installation (2 views), 1962 Floor
Cake (right) 1962. Synthetic polymer paint and
latex on canvas filled with foam rubber and
cardboard boxes, 58 3/8" x 9' 6 1/4" x 58 3/8.
Pop Art
37
Oldenburg, Soft Toilet, 1966 Dormeyer Mixer,1965
38
Oldenburg, Giant Lipstick, erect (left) and limp
(center), Yale University, 1969. Anti-Vietnam
war
39
Claes Oldenburg, Clothespin, 1976, Cor-Ten and
stainless steels, 45 ft. x 12 ft. 3 in. x 4 ft. 6
in., Centre Square Plaza, Philadelphia. Scale.
Carnivalesque humor in public art, as well as
inside art world joke in allusion to Brancusis
1909 Kiss (above).
40
Wayne Thiebaud (US, b. 1920), Five Hot Dogs,
1961, o/c, 18 x 24 in, Whitney MAA Thiebaud
earned a BA degree from Sacramento State College
in 1941 an M.A. degree in 1952.
41
Wayne Thiebaud, Cakes, 1963
42
Edward Kienholz (US, 1927-1994), Back Seat Dodge
38 (two views), 1964, tableau with truncated
Dodge and mixed materials (plaster casts, beer
bottles, chicken wire, artificial grass, etc.)
Los Angeles Funk
43
Kienholz (left) The Wait, 1964-65, tableau, life
size(right) The Beanery, 1965, mixed media,
tableau, life size
44
Kienholz, Ed, The State Hospital (INTERIOR),
1966, Tableau plaster casts, fiberglass,
hospital beds, bedpan, hospital table, goldfish
bowls, live black fish, lighted neon tubing,
steel hardware, wood, paint 96 x 144 x 120 in.
Moderna Museet, Stockholm
45
Kienholz, Ed, The State Hospital (EXTERIOR),
1966, Tableau plaster casts, fiberglass,
hospital beds, bedpan, hospital table, goldfish
bowls, live black fish, lighted neon tubing,
steel hardware, wood, paint 96 x 144 x 120 in.
Moderna Museet, Stockholm
46
Betye Saar, The Liberation of Aunt Jemima,
mixed-media assemblage, 1972
Joseph Cornell, Medici Boy
47
Robert Arneson, (American, 1930-1992)
48
Robert Arneson, John with Art, 1964, glazed
ceramic with polychorme epoxy, life size, Seattle
Art Museum gift of Manuel Neri
49
Robert Arneson, Typewriter, 1966, glazed ceramic,
around 6 x 11 x 12, UC Berkeley Art Museum
50
1966-76
51
Peter Saul, Vietnam, 1966, one of a series of
works in the 1960s prompted by the war.
52
Peter Saul, Donald Duck Crucifixion, 1964, oil on
canvas, 63 x 59 inches (160 x 150 cm)
53
Peter Saul, Icebox Number 7, 1963 oil on canvas,
74 1/2 x 63 inches (188 x 160 cm) For NY Times
2008 article on Peter Saul with more images, go
to http//www.nytimes.com/2008/08/16/arts/design/
16saul.html?ex1376539200en0a080dc56e7236c0ei5
124partnerpermalinkexprodpermalink
54
New RealistsTitle of seminal exhibition at
Sidney Janis Gallery in New York in 1962Called
Slice of Cake School (Time magazine)Included
American artists Warhol, Oldenburg, Lichtenstein
and others and Les Nouveaux Réalists, French
New Realists
55
Yves Klein (Nouveau Réalisme New Realism
French,1928-1962) (Monochrome Blue) (IKB
International Klein Blue 3), 1960, pigment
resin on canvas on wood, c.6 H Compare Russian
monochromatic abstraction (right) Kasimir
Malevich, Black Suprematist Square, 1914-15
(below) compare exhibitions 1960 Klein and
(right) 1915 Malevich
Klein produced 194 monochromes between 1955-1961
56
Yves Klein, Anthropométrie performances, Paris,
1960Anthropométrie de lépoch bleue
(Anthropometry of the Blue Epoch), pure pigment
in resin on paper mounted on canvas, 1960,
Nouveau Réalisme
57
Yves Klein, (left) Le Vide (The Void), Iris Clert
Galérie, Paris 1958, gallery installation
(right) Leap into the Void, March 9, 1960, New
Realism, altered photograph
58
Daniel Spoerri (Swiss, born Rumania, 1922),
Hungarian Meal, Trap Picture, 1963, assemblage
metal, glass, porcelain, fabric on painted
chipboard, 103 cm highIn the gallery, which was
converted into a restaurant, dishes prepared by
Spoerri - who also happened to be a great cook -
were served by famous critics. Once they had
eaten their fill, the guests constructed their
own Trap-pictures by affixing the leftovers of
their meal.
Called Eat Art by Spoerri
59
Christo, Nouveau Réalisme (New Realism), Wall of
Barrels, Iron Curtain, 1961-2, 240 oil barrels,
168 high (right) Wrapped Wheelbarrow, 1963
60
Niki de Saint-Phalle, (New Realist,
French-American, 1930-2002), Crucifixion, 1963,
Fabric pasted over an armature of wire mesh and
various affixed objects, 100 high (right) Jean
Dubuffet (Postwar Existentialism, French
1901-1985) A Tree of Fluids, 1950
61
In 1961 I shot at Daddy, all the men, small
men, tall men, important men, fat men, men, my
brother, society, church, school, my family, my
mother, all the men, Daddy, myself, men again.
Niki de Saint-Phalle
Shoot paintings
62
Niki de Saint-Phalle, Hon ("She" in Swedish),
1966. 6 ton colossus (82'/20'/30'). With Jean
Tinguely and Per Olaf Ultvedt as a temporary
installation at the Moderne Museet, Stockholm.
One of a series of Nana sculptures
The Carnivalesque
63
Niki de Saint Phalle and Jean Tinguely, Pompidou
Center kinetic fountain from the top floor of the
Beaubourg art museum and (left) pavement level
64
Jean Tinguely (Nouveau Réalist, Swiss 1925-91),
Homage to New York, Kinetic event-sculpture that
self-destroyed in the garden of the Museum of
Modern Art. New York, March 17, 1960
65
Tinguelys Nouveau Réalisme Sources Dada
Marcel Duchamp, (left) Bicycle Wheel (readymade),
1913 (right) Duchamp, Rotorelief, rotative
plaques, glass, metal, motor, 1920, kinetic art
(below left ) Francis Picabia (French,
1879-1953), Amorous Parade, 1919
Tinguelys Homage to New York 1960
66
Gerhard Richter and Konrad Lueg, Living With Pop,
1963 a performance of Capitalist Realism. The
Düsseldorf artist group (Richter, Lueg, and
Sigmar Polke) mounted an installation of objects
in a local furniture store, installing themselves
with the commodities for sale (living
sculptures) as a demonstration of "Capitalist
Realism." To what earlier, state-supported
realisms was "Capitalist Realism" responding?
Richard Hamilton, 1956
67
(left) Richter and Sigmar Polke, 1965, from
Richter/Polke exhibition catalogue(right)
Richter, 1998, from Gerhard Richter 40 Years of
Painting exhibition cat.
68
Gerhard Richter (b. Dresden, 1932), Nazi
officer Uncle Rudi, 1965, oil on canvas(right)
Administrative Building, 1964, Oil on canvas, 38
1/4 x 59 photo sources family snapshot and
encyclopediaI believe in nothing Richter
photography. . .had no style, no composition,
no judgment. It freed me from personal
experience. Thats why I wanted to have it
not to use it as a means to painting but to use
painting as a means to photography.
- Richter
69
Richter, Aunt Marianne, oil on canvas, 1965, 47 x
51 infrom a photograph of Richter as a baby with
Aunt MarianneWhenever I behaved badly I was
told you will become like crazy Marianne.
70
Richter, Phantom Interceptors, 1964, oil on
canvas, 55" x 6' 3(right) Alpha Romeo (With
Text), 1965, oil on canvas, 60 x 59
What is grisaille?
71
Richter, Eight Student Nurses, 1966, oil on
canvas, 8 paintings each c. 36 x 27 in
72
Compare Richter with Andy Warhol, Jackie The
Week That Was, 1963
73
(left) Richter, Abstract Painting, 1976, oil on
canvas, 26 x 23 in.After the gray paintings,
after the dogma of fundamental painting whose
purist and moralizing aspects fascinated me to a
degree bordering on self-denial, all I could do
was start all over again. This was the beginning
of the first color sketches.
Compare concept of Rauschenbergs Factum I II,
1957
74
Richter, October 18, 1977 Baader-Meinhof series,
Confrontation 1 and 2, 1988, oil on canvas, all
45 H. The subject is Ulrike Meinhof, the
Baader-Meinhof group - or gang part of the Red
Army Faction, was the first of the Marxist terror
groups that killed bankers, politicians and
bystanders across 70s Europe.
75
October, 1977, Protesters in Stuttgart at funeral
of Andreas Baader
76
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77
Final paintings in Richters October 18,
1977Baader-Meinhof series titled Tote 1, 2, and 3
78
(left) Richter, Betty (Richters daughter), 1988,
oil on canvas, 40 x 23(right) Richter, October
18, 1977 Baader-Meinhof series, Confrontation 1,
1988. Painted the same year.
79
(left) Richter, Iceberg in Fog, 1982, oil on
canvas, 27 x 39 incompare (left) Caspar David
Friedrich (German Romantic Painter,
1774-1840)(top) Monk by the Sea (1809) and
(bottom) Polar Sea (1823)
80
Richter, Untitled, 1987, oil on canvas, 118
square
81
Richter, Betty, 1988, oil on canvas, 40 x 23
compare (right) Untitled, 1987Painting is the
form of the picture, you might say. The picture
is the depiction, and painting is the technique
for shattering it.
82
Sigmar Polke (German, b. 1941), Modern Art,
1968(right) Polke, Lovers II, 1965, oil and
enamel on canvas, 6 ft 3 in x 55 in
83
Sigmar Polke, Bunnies, 1966, acrylic on linen, 58
x 39 A raster painting (commercial printing
process showing benday dots)
Lichtenstein, cover Of Newsweek, 1966
Warhol, "Marilyn," 1964
84
Sigmar Polke, Alice in Wonderland, 1971, mixed
media on fabric strips, 10ft6in x 8ft 6 in
85
Polke, from Watchtower series, 1984, synthetic
polymers on various fabrics
86
Polke, The Spirits That Lend Strength Are
Invisible III (Nickel/Neusilber), 1988, nickel
and artificial resin on canvas, 157in. x 118 in.
Collection SFMOMA
87
Sigmar Polke, Mrs. Autumn and Her Two Daughters,
1991, artificial resin and acrylic on synthetic
fabric, 9ft 10in x 16ft 5in
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