3:08 — Pop Goes the Easel

| April 15, 2019 | 4 comments

Allison and Michael discuss the Pop Art movement, the divide between “high brow/low brow” art, and the prominence of celebrity and popular culture.

Stay tuned at the end for Phil Hodges’ classical guitar arrangement of Neil Young’s “Old Man.”

“32 Campbell’s Soup Cans”
Andy Warhol
1962

 

“Whaam!”
Roy Lichtenstein
1963

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4 Comments

  1. jfutral
    jfutral on April 18, 2019 at 3:53 PM

    Be careful of materialism as the measure of art’s value.

    Two good books to read:

    Daniel Siedell’s _Who’s afraid of Modern Art_, and Jonathan Anderson & William Dyrness’s _Modern Art and the Life of Culture_. Both are (reductionally speaking) a bit of a continuation and reply to both Francis Schaeffer and HR Rookmaaker, particularly the notion that Modern art is lost in nihilism and despair.

    You can find video or two of Siedell speaking, but he is a bit dry and mostly just reads his notes like he is reading his book to you. Good stuff, but hard to just sit and listen to.

    Joe

    Reply
    • Michael Minkoff
      Michael Minkoff on April 19, 2019 at 12:54 PM

      Agreed. Side note: I randomly met Dan Siedell’s parents at a church we visited in Lincoln, NE. I think one of the major issues with the assessment of the arts is the idea that monetary value/material utility alone determine value. There are very many other kinds of value. Which is why I think the high price on many original pieces represents a capitulation to materialism—an attempt to put in dollar value what can only be assessed through other means. Good recommendations. Thanks, Joe!

      Reply
  2. jfutral
    jfutral on April 19, 2019 at 10:18 PM

    You’d love this debate:

    https://www.youtube.com/watch?v=hSjJrHM3FxY

    Introduction: The art market is the best judge of good art – IQ2 debates

    Also a good book, _Has Modernism failed_ bu Suzy Gablik. She was part of the NYC art scene back when Rauschenburg and friends were the rage. She was part of that group. A lot of the mid century modern artists were trying to break out of the market/gallery scene by making work they thought was impossible to market in a gallery, which was a big motivator of the early Conceptual art scene. Of course, where there is a will/$ there is a way. Christo was part of that. Plus also involving the community into his work was a way to reconnect artists and community, away from the hyper-idividualism modern art kept pursuing/being forced into/however you characterize that.

    Joe

    Reply

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