The influence of Pop Art on today’s Society.
The early beginnings of modern art started off with Courbet’s development of the idea of the artist as being central and in control of the whole creative process (being an artist as an individual allowed to express themselves within their artwork) instead of being dictated to by a patron. (See left Gustave Courbet’s ‘The Meeting’ showing Courbet the artist on the right assessing the deferential Patron on the left.)(See bibliography: Ego: the strange and wonderful world of self-portraits [DVD recording] / directed by Sebastian Barfield).
If we look at the art work of the Dadaists and the early Russian revolutionist ideas of the death of an author (By Barthes) and art being used as a political vehicle to express a Marxist ideal of the artwork being the total overall product of a collective of artists, as if being no more important as a product hot off the production line in a factory and being hugely influenced by the industrial revolution. Obvious connections can be made here with Andy Warhol’s ‘Factory’ collective group of artists and Andy’s Pop art movement. With these ideas he created an atmosphere of self- indulgence, opulence and hedonism in an escapist underground movement of the 1960’s. Although in Andy Warhol’s case the ego of the artist was definitely still there, unlike his Marxist forbearers.
The Art of participation 1950 to now/ by Rudolf Friedling, Chapter 1.
Andy Warhol’s contribution to the development of art and society and popular iconic culture started with his subject matter being derived from ordinary household items. These had a personal significance to him- the Campbell Soup can series and the Coke Bottle, for example, represented all things luxurious and equal and in a fast growing modern society of deccadence. The American boom of consumerism and excitement of the glitzy new post 2nd war world of the 1950’s coincided with downtown Philadelphia. Born of Czechoslovakian parents of modest means and having suffered a neurological disorder which affected his appearance (he had pock- marked skin and hair loss and great sensitivity to light) and this in turn affected his self- confidence, meant that Andy spent his early youth in the kitchen at home producing artwork. This started his early escapist photomontages and artwork developed from magazines and newspaper cuttings which were supplied by his Mother. Andy idolised anything new and modern which shaped his view of the world and turned his imaginative fantasy (based upon a media constructed reality) into an actual consumerist iconic reality which has shaped modern Western culture ever since.
The early beginnings of modern art started off with Courbet’s development of the idea of the artist as being central and in control of the whole creative process (being an artist as an individual allowed to express themselves within their artwork) instead of being dictated to by a patron. (See left Gustave Courbet’s ‘The Meeting’ showing Courbet the artist on the right assessing the deferential Patron on the left.)(See bibliography: Ego: the strange and wonderful world of self-portraits [DVD recording] / directed by Sebastian Barfield).If we look at the art work of the Dadaists and the early Russian revolutionist ideas of the death of an author (By Barthes) and art being used as a political vehicle to express a Marxist ideal of the artwork being the total overall product of a collective of artists, as if being no more important as a product hot off the production line in a factory and being hugely influenced by the industrial revolution. Obvious connections can be made here with Andy Warhol’s ‘Factory’ collective group of artists and Andy’s Pop art movement. With these ideas he created an atmosphere of self- indulgence, opulence and hedonism in an escapist underground movement of the 1960’s. Although in Andy Warhol’s case the ego of the artist was definitely still there, unlike his Marxist forbearers.
In a way Andy’s art-house idea harkened back to the traditional accepted aesthetics of the Renaissance artist, with him as ‘master’ and having overall command and control of the artwork or art ‘happening’ atmosphere.
See picture of Valesquize’s studio right.
Andy was the ideas generator, with his fellow artists remaining anonymous and in the background, with Andy getting all the credit when the artworks went on exhibition and sold for lots of money. He re-introduced the idea of artist as superstar in fact some claim he invented this ideal. He famously said ‘Everyone must have their fifteen minutes of fame’, making it happen by capturing people on camera in his silver foiled art factory studio.
Andy was the ideas generator, with his fellow artists remaining anonymous and in the background, with Andy getting all the credit when the artworks went on exhibition and sold for lots of money. He re-introduced the idea of artist as superstar in fact some claim he invented this ideal. He famously said ‘Everyone must have their fifteen minutes of fame’, making it happen by capturing people on camera in his silver foiled art factory studio.
Whether caught on cine/ video or Polaroid film it seems Andy had given people permission to express themselves creatively, live out fantasies, play roles as actors in their own life- movie and explore new territories of the mind with drugs or psychedelic media in a party-fuelled atmosphere where ‘anything could happen’. He encouraged people to live to excess and on the edge, rebelling against the stuffy ‘nice’ society of the more conventional art establishment where Andy’s new rules were seen as giving people permission to be narcissistic, greedy and wasteful and producing talentless art. Andy viewed everything through film, playing a role in front of the cameras as well as behind them, turning them into larger than life silk screen prints in garish colours, repeating them in an industrial style factory approach to art as image (previously silk screening had been used in the production of wallpaper). The processes which he used and the visual images which he chose have all influenced today’s culture of reality tv as normal. In this culture ordinary people have been ‘chosen’ by the tv production Gods to be elevated to stardom, thus being able to lift themselves out of ordinary life of the mundane working man into the stratosphere of the super or mega rich hedonistic film or pop star category. I would ascertain this is a false reality which further suppresses the public and discourages the idea it is possible for anyone to do well through hard work and personal achievement, by being brave enough to risk financial hardship in the short term for a much bigger reward in the long term, by simply following their dreams and developing their natural talents.
Of course the technology available to Andy Warhol had a large part to play in his art. Thanks to the development of photography, and in turn its acceptance by the art establishment as a bona fide artform, Andy was able to produce his silk screens and films.
In our society today with the development of new computer technology available at our fingertips it is possible for everybody to feel like a star and publish their own visual records of nights out shared with friends, bands, festivals and any times they caught on camera which they can upload straight onto the internet at the click of a button. They can create their own online version of Andy Warhol’s Factory underground cool and trendy movement on Facebook, Twitter and other social networking sites.
So has this spoilt the special status of the ego-driven artist? Has it de-valued art and in turn led to a de-skilling of the artworld? Or is it right and just in a Marxist ideal of ‘overall art’ and the death of an author ideal? (The ideal of the Death of an Author essay by Barthes).
I think the Marxist artists of the post- Russian revolution would be ecstatically pleased to find society has levelled out the playing field.(egs and dates here with ref. To book quotes). Personally I think it is a great shame that the traditional skills of good drawing and observation are not being perpetuated in every art establishment today.
There are massive divisions between the rich and the poor in today’s society, however, which are being masked by the dumbing-down of mass popular culture and I would argue reality t.v. shows such as Big Brother are merely the first stage in getting the public to accept being observed and controlled by governments using cctv surveillance as a political tool and means to implement rule by force.
In contrast the internet has evened out this power balance and given power back to the people. Online forums have led to mass demonstrations and political revolutions which have overturned governments and changed the law and order in some countries.
Bibliograhpy:
Modern masters: Andy warhol [DVD recording] / directed by Sarah Aspinall.
Ego: the strange and wonderful world of self-portraits [DVD recording] / directed by Sebastian Barfield
The Death of an Author by Barthes- published on the internet
This is civilisation : save our souls [DVD recording]
Modern masters: Andy warhol [DVD recording] / directed by Sarah Aspinall.
Ego: the strange and wonderful world of self-portraits [DVD recording] / directed by Sebastian Barfield
The Death of an Author by Barthes- published on the internet
This is civilisation : save our souls [DVD recording]
The Art of participation 1950 to now/ by Rudolf Friedling, Chapter 1.
Barthes for beginners/ Philip Thody and Ann Course; edited by Richard Appignanesi.
