Diggory, Terence (2013) Encyclopedia of the New York School Poets (Facts on File Library of American Literature). ISBN 978-1-4381-4066-7 According to the son of John McHale, the term "pop art" was first coined by his father in 1954 in conversation with Frank Cordell, [12] although other sources credit its origin to British critic Lawrence Alloway. [13] [14] (Both versions agree that the term was used in Independent Group discussions by mid-1955.)

Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: W.W. Norton & Company, Inc. in association with the Whitney Museum of American Art. This can be also done in an abrasive and deadpan way, as with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a bull, out of processed food cans known as pisupo. It is a unique work of western pop art because Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the food cans the work is made of, which represent economic dependence brought on Samoans by the west). The undeniable indigenous viewpoint makes it stand out against more common non-indigenous works of pop art. [50] [51] Yayoi Kusama interview – Yayoi Kusama exhibition". Timeout.com. 30 January 2013 . Retrieved 30 December 2015. The Great American Pop Art Store: Multiples of the Sixties". Tfaoi.com . Retrieved 30 December 2015.a b c d Gopnik, A.; Varnedoe, K., High & Low: Modern Art & Popular Culture, New York: The Museum of Modern Art, 1990

Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late- 1950s. [1] [2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony. [3] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material. [2] [3] Tadanori Yokoo: ADC • Global Awards & Club". Adcglobal.org. 27 June 1936 . Retrieved 30 December 2015. Also in the category of Spanish pop art is the "Chronicle Team" ( El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can be characterized as "pop" because of its use of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid's "La Movida" subculture of the 1970s making low budget super 8 pop art movies, and he was subsequently called the Andy Warhol of Spain by the media at the time. In the book Almodovar on Almodovar, he is quoted as saying that the 1950s film "Funny Face" was a central inspiration for his work. One pop trademark in Almodovar's films is that he always produces a fake commercial to be inserted into a scene.a b Barton, Christina (2010). Billy Apple: British and American Works 1960–69. London: The Mayor Gallery. pp.11–21. ISBN 978-0-9558367-3-2. a b c d Scherman, Tony. "When Pop Turned the Art World Upside Down." American Heritage 52.1 (February 2001), 68. Philadelphia Museum of Art Wins Fight with Facebook over Racy Pop Art Painting". artnet.com. 11 February 2016 . Retrieved 17 January 2020.

In Italy, by 1964 pop art was known and took different forms, such as the "Scuola di Piazza del Popolo" in Rome, with pop artists such as Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa, Claudio Cintoli, and some artworks by Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami. Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in December 1962; the occasion was a "Symposium on Pop Art" organized by the Museum of Modern Art. [19] By this time, American advertising had adopted many elements of modern art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials. [6] As the British viewed American popular culture imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every day with the diversity of mass-produced imagery, produced work that was generally more bold and aggressive. [10] Roy Lichtenstein, Drowning Girl, 1963, on display at the Museum of Modern Art, New York. Opening in 1962, Willem de Kooning's New York art dealer, the Sidney Janis Gallery, organized the groundbreaking International Exhibition of the New Realists, a survey of new-to-the-scene American, French, Swiss, Italian New Realism, and British pop art. The fifty-four artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake ( The Love Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The show was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and look of the American artwork. Also shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Mark Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, but gained Dine, Oldenburg, Segal and Wesselmann. [38] At an opening-night soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically owned a number of de Kooning's works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely changed". [19] Turning away a respected abstract artist proved that, as early as 1962, the pop art movement had begun to dominate art culture in New York. Reva Wolf (24 November 1997). Andy Warhol, Poetry, and Gossip in the 1960s. p.83. ISBN 9780226904931 . Retrieved 30 December 2015.

Contemporary of American Pop Art—often conceived as its transposition in France—new realism was along with Fluxus and other groups one of the numerous tendencies of the avant-garde in the 1960s. The group initially chose Nice, on the French Riviera, as its home base since Klein and Arman both originated there; new realism is thus often retrospectively considered by historians to be an early representative of the École de Nice [ fr] movement. [46] In spite of the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Restany; to a "poetic recycling of urban, industrial and advertising reality". [47] Spain [ edit ] Dutch Pop Art & The Sixties – Weg met de vertrutting!". 8weekly.nl. 28 July 2005 . Retrieved 30 December 2015. The origins of pop art in North America developed differently from those in Great Britain. [3] In the United States, pop art was a response by artists; it marked a return to hard-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to "defuse" the personal symbolism and " painterly looseness" of abstract expressionism. [4] [6] In the U.S., some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art. [7] History, Travel, Arts, Science, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 30 December 2015.

Rosenthal, Nan (October 2004). "Jasper Johns (born 1930) In Heilbrunn Timeline of Art History". The Metropolitan Museum of Art . Retrieved 2 May 2021. Kimmelman, Michael (30 September 1997). "Roy Lichtenstein, Pop Master, Dies at 73". The New York Times . Retrieved 12 November 2007.Amongst the early artists that shaped the pop art movement were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson, Robert Rauschenberg and Jasper Johns among others in the United States. Pop art is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion of those ideas. [4] Due to its utilization of found objects and images, it is similar to Dada. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. [5] Another well-known pop artist was Roy Lichtenstein. His paintings and prints looked just like comic strips, including his most well-known work entitled Whaam! Rauschenberg, Robert; Miller, Dorothy C. (1959). Sixteen Americans [exhibition]. New York: Museum of Modern Art. p. 58. ISBN 978-0029156704. OCLC 748990996. “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)”