Synopses & Reviews
Thomas Crowand#8217;s paradigm-changing book challenges existing narratives about the rise of Pop Art by situating it within larger cultural tides. While American Pop was indebted to its British predecessorand#8217;s insistence that any creative pursuit is worthy of aesthetic consideration, Crow demonstrates that this inclusive attitude also had strong American roots. Folk becomes Crowand#8217;s starting point in the advance of Pop. The folk revival occurred chiefly in the sphere of music during the 1930s and and#8217;40s, while folk art surfaced a decade later in the work of Jasper Johns and Robert Rauschenberg. Crow eloquently examines the subsequent explosion of commercial imagery in visual art, alongside its repercussions in popular music and graphic design. Popand#8217;s practitioners become defined as artists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young participants in the politicized 1960s counterculture. Woody Guthrie and Roy Lichtenstein, Andy Warhol and Bob Dylan, Ed Ruscha and the Byrds, Pauline Boty and the Beatles, the Who and Damien Hirst are all considered together with key graphic designers such as Milton Glaser and Rick Griffin in this engaging book.and#160;
Review
andlsquo;Thomas Crowandrsquo;s study of American Pop Art opens with the intriguing premise that the movement emerged out of the American folk revivial of the 1930andrsquo;s and 40andrsquo;s, primarily felt in music but later percolating into art in the Robert Rauschenberg and Jasper Johns.andrsquo;
andmdash;Apollo Magazine.
Review
andlsquo;andhellip;you wonandrsquo;t see Pop the same way after
The Long March of Pop. As seen here itandrsquo;s murkier, richer, more ragged, and evidently the art that a nation congenitally suspicious of the highfalutin was destined to create.andrsquo;andmdash;Martin Herbert,
Art Review.
Synopsis
An original and insightful new history of Pop Art from one of the most important art historians of our time
Synopsis
An original and insightful new history of Pop Art from one of the most important art historians of our time
Thomas Crow's paradigm-changing book challenges existing narratives about the rise of Pop Art by situating it within larger cultural tides. While American Pop was indebted to its British predecessor's insistence that any creative pursuit is worthy of aesthetic consideration, Crow demonstrates that this inclusive attitude also had strong American roots. Folk becomes Crow's starting point in the advance of Pop. The folk revival occurred chiefly in the sphere of music during the 1930s and '40s, while folk art surfaced a decade later in the work of Jasper Johns and Robert Rauschenberg. Crow eloquently examines the subsequent explosion of commercial imagery in visual art, alongside its repercussions in popular music and graphic design. Pop's practitioners become defined as artists whose distillation of the vernacular is able to capture the feelings stirring among a broad public, beginning with young participants in the politicized 1960s counterculture. Woody Guthrie and Roy Lichtenstein, Andy Warhol and Bob Dylan, Ed Ruscha and the Byrds, Pauline Boty and the Beatles, the Who and Damien Hirst are all considered together with key graphic designers such as Milton Glaser and Rick Griffin in this engaging book.
Synopsis
Esteemed art historian Thomas Crow presents a highly original account of the rise and legacy of Pop Art, tracing its predecessors in the American folk tradition and examining the role of popular music and graphic design alongside fine art.
About the Author
Thomas Crow is the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University.and#160;