Text by Darsie Alexander, Bartholomew Ryan, Erica Battle, Claudia Calirman, Charlotte Cotton, Dávid Fehér, Ed Halter, Martin Harrison, María José Herrera, Hiroko Ikegami, Godfrey Leung, Luigia Lonardelli, Tomás Pospiszyl.
This dynamic new volume is the first major survey to chronicle the emergence and migration of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, this catalogue provides important new scholarship on the period, examining production by artists across the globe who were simultaneously confronting radical cultural and political developments that would lay the foundation for the emergence of an art form embracing figuration, media strategies and mechanical processes with a new spirit of urgency and/or exuberance. International Pop amplifies the scope and tenor of what we understand to be "Pop," exposing the tremendous variety and complexity of this pivotal period and subject matter, and revealing how artists alternatively celebrated, cannibalized, rejected or assimilated some of the presumed qualities of Pop advanced in the US and Britain. Anchored by an expansive 48-page visual chronology, the book features in-depth essays by a range of scholars examining developments in Britain, Japan, Brazil, Argentina, Italy and Hungary as well as Western Europe and the US. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, which integrates many classics of Pop art with numerous rarely seen works.
Among the artists included are Evelyne Axel, Peter Blake, Raymundo Colares, Antonio Dias, Rosalyn Drexler, Erró, León Ferrari, Richard Hamilton, David Hockney, Jasper Johns, Tanaami Keiichi, Yves Klein, Jirí Kolár, Yayoi Kusama, Nelson Leirner, Anna Maria Maiolino, Antonio Manuel, Marisol, Marta Minujín, Claes Oldenburg, Wanda Pimentel, Michaelangelo Pistoletto, Sigmar Polke, Gerhard Richter, Mimmo Rotella, Ed Ruscha, Niki de Saint Phalle, Shinjiro Okamoto, Tadanori Yokoo, Wayne Thiebaud, Jean Tinguely, Shinohara Ushio and Andy Warhol.
"Woman Descending the Staircase (Frau die Treppe herabgehend)" (1965), by Gerhard Richter, is reproduced from International Pop.
PRAISE AND REVIEWS
Interview
Devon Ivie
A mix of illustrations, visual chronologies, and original essays from leading scholars provides insight on how to understand and appreciate "Pop" as we know it.
The Wall Street Journal
Richard B. Woodward
"smart and subtle"
Hyperallergic
Mason Riddle
Required viewing for anyone interested in Pop art and culture, or who remembers the 1960s, from the Vietnam war and the Moon landing to Sgt. Pepper’s, and hopes to understand how complex, layered, and global Pop was.
Artforum
David Joselit
“International Pop"... crystallizes precisely what is at stake in the organization of international or global exhibitions.
The New York Times
Holland Cotter
For every classic, textbook item - a Jasper Johns flag painting, a Warhol Brillo box - there are dozens you've never laid eyes on. Collectively, they distill an era's distinctive mix of earned paranoia and skeptical utopianism.
The Brooklyn Rail
Megan N. Liberty
Not only will International Pop remain a scholarly reference for future exhibitions and research, but the range of page colors and textures, to the variety of layouts and organizational methods used throughout the catalogue, succeed in capturing the feel of Pop in every spread, succinctly bringing together a large number of artists, artworks, and several countries to tell a multi-faceted and open-ended narrative of Pop Art across the world.
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FROM THE BOOK
ARTISTS INCLUDE
■ Evelyne Axell
■ Peter Blake
■ Raymond Colares
■ Antônio Dias
■ Rosalyn Drexler
■ Erró
■ León Ferrari
■ Richard Hamilton
■ David Hockney
■ Jasper Johns
■ Tanaami Keiichi
■ Yves Klein
■ Jirí Kolár
■ Yayoi Kusama
■ Nelson Learner
■ Ana Maria Maiolino
■ Antonio Manuel
■ Marisol
■ Marta Minujín
■ Claes Oldenburg
■ Wanda Pimentel
■ Michaelangelo Pistoletto
■ Sigmar Polke
■ Gerhard Richter
■ Mimmo Rotella
■ Ed Ruscha
■ Niki de Saint Phalle
■ Okamoto Shinjiro
■ Yokoo Tadanori
■ Wayne Thiebaud
■ Jean Tinguely
■ Shinohara Ushio
■ Andy Warhol
Randy Kennedy writes, “For art lovers, and certainly for the collectors now paying tens of millions of dollars per painting at auction, Pop art and its trademark images — Marilyns, Ben-Day dots, Coca-Cola bottles, lipsticked lips — have become 20th century classicism, as canonical as Cubism and as appealing as candy." continue to blog
We here at ARTBOOK | D.A.P. see dozens of new books every day, many of which are published by the world's foremost museums to accompany truly groundbreaking exhibitions. And yet, when The Walker Art Center'sInternational Pop arrived, office life came to a halt. Without a doubt, it is one of the most beautifully produced, ingeniously designed and downright richest exhibition catalogues we've ever encountered. It's also tremendous fun. Our own Madeline Weisburg sat down with Walker Art Center senior designer Andrea Hyde to find out how this astonishing object came to be. continue to blog
We here at ARTBOOK | D.A.P. see dozens of new books every day, many of which are published by the world's foremost museums to accompany truly groundbreaking exhibitions. And yet, when The Walker Art Center'sInternational Pop arrived, office life came to a halt. Without a doubt, it is one of the most beautifully produced, ingeniously designed and downright richest exhibition catalogues we've ever encountered. It's also tremendous fun. Our own Madeline Weisburg sat down with Walker Art Center senior designer Andrea Hyde to find out how this astonishing object came to be. continue to blog
"What do we talk about when we talk about Pop?" International Pop curators
Darsie Alexander and Bartholomew Ryan ask in their Introduction to the Walker Art Center's groundbreaking survey, one of our top holiday gift books of the year. "A moment in the early to mid-1960s when young artists in many centers around the world—from Buenos Aires to Tokyo, New York to São Paulo—turned away from abstraction and preconceived notions of high art and engaged the kitsch, the low and the everyday. They were inspired by new advances in visual culture, an abundance of images transmitted via new print technologies, wider means of distribution, and the rise of television. Collectively and from different vantage points, attitudes, and identities, artists began to co-opt the objects and castaways of mass production, sampling celebrity culture, comic books, advertising and propaganda. They recycled, satirized, celebrated and reframed the world that was emerging around them, even as they merged into it." Ice Cream (1964) is by Belgian painter Evelyne Axell.
continue to blog
In the Walker Art Center's deeply researched yet exuberant new survey, all of the important centers of global Pop art are investigated and interwoven. In her essay on Pop and Politics in Brazilian Art, Claudia Calirman writes, "Despite… protestations, the similarities between Brazilian New Figuration and U.S. Pop art are undeniable. Both drew on images from their countries’ popular culture, appropriating from the mass media, including advertising and comic books. Both engaged with celebrity icons, criticized as well as celebrated consumer society, and denounced the elitism of 'high' art while embracing the banality of everyday life. And both explored urban themes. Stylistically, the two movements favored industrial paint, spray guns, graphic design, and mass-production techniques. The difference, according to critics of the time, lay in the political urgency of the Brazilian works—the way they addressed the country’s social realities and developed a critical view of consumer capitalism… In 'Homenagem séc. XX/XXI (20th/21st Century Tribute)' (1967), Antônio Henrique Amaral places the face of a general over a U.S. flag; his military insignias form a line along the bottom of the canvas. The general’s four open mouths, with their protruding red tongues, refer to the empty language of the dictatorship." continue to blog
"What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it." Sixteen Jackies (1964) and the above quote (1975), both by Andy Warhol, are reproduced from the Walker Art Center's definitive new survey, International Pop. continue to blog
Okamoto Shinjiro's "One Little Indian…" (from the 1964 Ten Little Indian series), is reproduced from the Walker Art Center's essential new survey of International Pop art. In her essay on Tokyo Pop, art historian Hiroko Ikegami writes, "Because Okamoto began making his comic-book-style paintings in 1962, before the advent of American Pop art in Japan, he refused to be classified as a Pop artist, as doing so would have misleadingly indicated that his art was a byproduct of American Pop. Nevertheless, the series shares what he called a 'cheerful nihilism' with American Pop: his ten Indians, though painted colorfully, wear no expressions—a comment on human alienation in postwar Japan. Okamoto, a printing-company art director, executed the watercolor paintings based on preconceived designs, emulating a process common in printmaking." continue to blog
"It was said of Zeuxis, the great artist of ancient Greece, that he could paint a bunch of grapes so realistically that birds would try to eat them," Time magazine wrote in 1962. "This was an impressive skill, but art has long since aspired to more than carbon-copy realism. Now a segment of the advance guard has suddenly pulled a switch. Unknown to one another, a group of painters have come to the common conclusion that the most banal and even vulgar trappings of modern civilization can, when transposed literally to canvas, become Art." This excerpt from Godfre Leung's exemplary Visual Chronology and David Hockney's 1967 "The Room, Tarzana," are reproduced from the Walker Art Center's extraordinary new release, International Pop. continue to blog
Wednesday, October 14 at 7PM, ARTBOOK and Swiss Institute invite you to the New York book launch for International Pop, published by the Walker Art Center. Exhibition curators Darsie Alexander and Bartholomew Ryan will appear in conversation with Godfre Leung, author of the book's extensive visual chronology, speaking on the making of this monumental historical survey (now on view at the Dallas Museum of Art) and the remarkable book which accompanies it. Book signing to follow. continue to blog
FORMAT: Hbk, 9 x 11.75 in. / 352 pgs / 230 color / 115 b&w. LIST PRICE: U.S. $85.00 LIST PRICE: CANADA $112.5 GBP £70.00 ISBN: 9781935963080 PUBLISHER: Walker Art Center AVAILABLE: 8/25/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Walker Art Center. Text by Darsie Alexander, Bartholomew Ryan, Erica Battle, Claudia Calirman, Charlotte Cotton, Dávid Fehér, Ed Halter, Martin Harrison, María José Herrera, Hiroko Ikegami, Godfrey Leung, Luigia Lonardelli, Tomás Pospiszyl.
This dynamic new volume is the first major survey to chronicle the emergence and migration of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, this catalogue provides important new scholarship on the period, examining production by artists across the globe who were simultaneously confronting radical cultural and political developments that would lay the foundation for the emergence of an art form embracing figuration, media strategies and mechanical processes with a new spirit of urgency and/or exuberance. International Pop amplifies the scope and tenor of what we understand to be "Pop," exposing the tremendous variety and complexity of this pivotal period and subject matter, and revealing how artists alternatively celebrated, cannibalized, rejected or assimilated some of the presumed qualities of Pop advanced in the US and Britain. Anchored by an expansive 48-page visual chronology, the book features in-depth essays by a range of scholars examining developments in Britain, Japan, Brazil, Argentina, Italy and Hungary as well as Western Europe and the US. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, which integrates many classics of Pop art with numerous rarely seen works.
Among the artists included are Evelyne Axel, Peter Blake, Raymundo Colares, Antonio Dias, Rosalyn Drexler, Erró, León Ferrari, Richard Hamilton, David Hockney, Jasper Johns, Tanaami Keiichi, Yves Klein, Jirí Kolár, Yayoi Kusama, Nelson Leirner, Anna Maria Maiolino, Antonio Manuel, Marisol, Marta Minujín, Claes Oldenburg, Wanda Pimentel, Michaelangelo Pistoletto, Sigmar Polke, Gerhard Richter, Mimmo Rotella, Ed Ruscha, Niki de Saint Phalle, Shinjiro Okamoto, Tadanori Yokoo, Wayne Thiebaud, Jean Tinguely, Shinohara Ushio and Andy Warhol.
