Andy Warhol Pop Art Gallery
Elvis We and II, 1963-64
silkscreen ink, spray paint (silver panel) and acrylic (blue panel) on linen
each panel: 208.3 x 208.3 cm (82 x 82 in.)
Present from Women’s Committee Fund, 1966
© The Andy Warhol Foundation the Visual Arts, inc. / SODRAC (2015)
Floor Burger, 1962
Canvas full of foam-rubber and cardboard bins, painted with exudate and Liquitex
4 ft. 4in. (1.32 m ) large; 7 ft. (2.13 m) diameter
Collection Art Gallery of Ontario, Toronto, Purchase 1967
© 1962 Claes Oldenburg
Richard Hamilton (British, 1922-2011)
Swingeing London 1967
offset color lithograph written down
70.5 x 50.3 cm (27 3/4 x 19 13/16 in.)
Ann and Harry Malcomson Richard Hamilton Donation, 1994
© R. Hamilton. All Liberties Reserved, SODRAC (2016)
Gerhard Richter, Mao, 1968, Collotype in black-purple ink on paper, 83.9 x 59.4 cm. Present associated with Roald Nasgaard Fan Club in honour of their 50th Birthday, 1991, 93/31 © Gerhard Richter 2016
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During sixties, Pop music artists in America responded to the buyer community that had founded it self after World War II. They analyzed the effect on the current psyche of mass culture while the access everybody else seemed to have to a wealth of new items. As artist James Rosenquist said: “i will be astonished and excited and fascinated about the way things tend to be pushed at united states...things larger than life, the influence of things tossed at us.” To stress this, Pop performers painted huge photographs, made use of daily things, or occasionally grossly inflated or simply just reproduced things in astonishing products. They did not simply report the favorite; they confronted it. They set bare the insatiable materialism, gluttony and exorbitant aesthetic stimulation of the "" new world "".
On show are three of the back's primary works of art: Claes Oldenburg's Floor Burger (1962), Andy Warhol's Elvis I and II (1963–4), and Robert Rauschenberg's Story (1964). All are presents of or had been purchased using the help of the Gallery's legendary ladies Committee when you look at the 1960s.
In 1964, University of Toronto professor and media theorist Marshall McLuhan argued that “medium could be the message.” For McLuhan, the “message” wasn't the content associated with development tale itself – it had been not, for instance, the 1963 murder of John F. Kennedy or Marilyn Monroe's 1962 suicide – but instead the fact that the tv screen delivered these details to each and every family area. Everybody was forced to respond to and don't forget these events because they had been turned into tragedies is considered across the world. The European and United states Pop designers on screen in Gallery 129, the Robert & Cheryl McEwen Gallery, appear to have provided McLuhan's observance.
Exactly what do you think? Do we bear in mind Mick Jagger's arrest in 1967 and Chairman Mao Zedong's Cultural Revolution in Asia since these events had been essential, or is it because everybody saw these photos on television? Could be the method the message? If therefore, what does this suggest within our existing age of mobile telephones and Twitter?
Look at the Gallery, consider the works, and share your responses on Facebook, Twitter or Instagram utilizing #AGOasks.