Pop Art. Mass consumer-bought consumer and acquirer of the mass...

Pop Art. Mass consumer-buying and acquiring mass consumer society

What is Pop Art

The term pop art (in short, from English popular art - popular, public art, there were attempts to call pop art "new realism", but this name did not take root), in 1965, English critic Lawrence Elloway, curator of the New York museum modern art of the Guggenheim. The primary reason for the emergence of the term was that one English artist brought out the word "rop" on his canvas. In everyday speech, "ror - mass cheap and vulgar products.

Pop art was called the art of fact (factualism), the art of the street, the art of the common man, the art of living.

Pop art is a neo-avant-garde, postmodern art direction in the American and Western European art of the 60s. Pop art emerged as a reaction to the dominance of abstractionism, with its separation from reality.

As an artistic trend, pop art reinforces the mass/popular, mass/elite that has long been emerging in the art of opposition.

Artistic concept

Pop art put forward the concept of the consumer's identity consumer society "mass consumption". The ideal personality of pop art is the consumer-man, to whom the aesthetic still lifes of commodity compositions replace the spiritual culture. For pop art words are used, substituted for goods; literature superseded by things; beauty, replaced by utility; greed for material, commodity consumption, replacing spiritual needs. This direction is fundamentally oriented towards a mass uncreative person, devoid of independent thinking and borrowing "his" thoughts from advertising and media, personality manipulated by television and other media. This personality is programmed by pop art to fulfill the given roles of the acquirer and the consumer, submissively demolishing the alienating effect of modern civilization. The personality of pop art is zombie mass culture.

The concept of peace and personality in pop art: the zombie personality of a democrat-acquirer of a mass consumption society.

Reliance on Tradition

In the philosophical and aesthetic sense, pop art relies on the tradition of pragmatism. Pragmatic aesthetics - the theoretical foundation of pop art.

In the new conditions of the post-industrial society, pop art continued the tradition of experiments of Dadaism and Surrealism of the 1920s. In 1951 an anthology of Dada was published in the USA. This book has attracted the attention of many American artists and served as one of the stimuli for the emergence of pop art. Pop art was called neodadism.

Pop art and abstract art

Pop art is the artistic satisfaction of "longing for objectivity," generated by a long domination in the Western art of abstract art and neo-abstractionism. Some researchers even consider pop art as a reaction to non-objective art. "Abstract art has exhausted its ability to open new horizons for the artist and for the viewer, and in the next decade this feature inherent in the very nature of art has adopted pop art."

Pop art is a new figurative art. The abstract world of pop material art was opposed to the crude world of material things attributed to the artistic and aesthetic status. Pop art struggled with abstraction by vulgar images of the mass culture.

Pragmatism - the philosophical basis of pop art

The aesthetics of pragmatism theoretically justifies the de-intellectualization of artistic creativity. Intellectual activity, in the opinion of pragmatists, is the sphere of the scientist. The artist's activity is in the sphere of the subconscious. The intuitive nature of creativity is especially evident in the music, according to pragmatists. Pragmatists consider possible pluralism in the interpretation of a work of art.

According to pragmatic aesthetics, the main benefit of art is pleasure. Pleasure is a universal criterion for evaluating a work of art. In art, not the result of artistic activity, but the process of activity itself is important, for it delights the artist.

Artistic works of the past can bring pleasure to people of a new era, only becoming a part of their everyday experience (only because the work is included in the modern experience of man, it is art). The museum's paintings and sculptures created in the distant past - museum values, not works of art, as they are cut off from life, are not included in everyday experience.

thematic pictures

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