Pop Art Research Paper

British Pop artists adopted a similar visual technique but focused their attention on the mass imagery of popular culture which they waved as a challenge in the face of the establishment.Richard Hamilton’s collage of 1956, is the ultimate catalogue of pop art imagery: comics, newspapers, advertising, cars, food, packaging, appliances, celebrity, sex, the space age, television and the movies.However, it was not 'found objects' that Johns introduced as a subject for his paintings, but ‘found images’ - flags, targets, letters and numbers - and it was this iconography of familiar signs that appealed to Pop.

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Pop Art became their mode of expression in this search for change and its language was adapted from Dada collages and assemblages.

The Dadaists had created irrational combinations of random images to provoke a reaction from the establishment of their day.

A black and white version of this collage was used as the cover for the catalogue of the 'This Is Tomorrow' exhibition at the Whitechapel Gallery in 1956.

This show heralded a widening of our understanding of what culture is and inspired a new generation of young British artists that included Eduardo Paolozzi, Peter Blake, David Hockney, Allen Jones, Joe Tilson, Derek Boshier, Richard Smith and R. JASPER JOHNS (1930-) 'White Flag', 1955 (encaustic, oil, newspaper, charcoal on canvas) Pop art in America evolved in a slightly differently way to its British counterpart.

It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in mass-media, mass-production and mass-culture.

EDUARDO PAOLOZZI (1924- 2005) 'I was a Rich Man's Plaything' , 1947 (collage) The word 'POP' was first coined in 1954, by the British art critic Lawrence Alloway, to describe a new type of art that was inspired by the imagery of popular culture.

ROBERT RAUSCHENBERG (1925- 2008) 'First Landing Jump', 1961 (mixed media) Robert Rauschenberg also used 'found images' in his art but, unlike Johns' images, they are combined in a relationship with one another or with real objects.

The work of both these artists is often referred to as Neo-Dada as it draws on ‘found elements’, first explored by Dadaists such as Marcel Duchamp and Kurt Schwitters.

It coincided with the globalization of pop music and youth culture, personified by Elvis and the Beatles.

Pop Art was brash, young and fun and hostile to the artistic establishment.