{"id":668,"date":"2022-10-24T22:08:51","date_gmt":"2022-10-24T22:08:51","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/chapter\/__unknown__-44\/"},"modified":"2023-03-16T17:25:55","modified_gmt":"2023-03-16T17:25:55","slug":"__unknown__-44","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/chapter\/__unknown__-44\/","title":{"raw":"6.3 POP ART","rendered":"6.3 POP ART"},"content":{"raw":"
\r\n

R<\/strong>obert Rauschenberg<\/strong><\/h2>\r\n

Robert Rauschenberg (1928-2008) blurred the lines between painting and sculpture. His mature works, known as Combines, used every day, discarded objects that had been made by others. He wanted his art to show how a mundane object could also be beautiful. His work Reservoir<\/em>, see figure\u00a06.15<\/strong> is made using things he found on the streets of lower Manhattan where he lived. The two clocks are set to the time he started the work and the time he finished it. Rauschenberg said that the canvas is not a window into space, but a surface, like a desktop, onto which things are piled. He wanted to remove the artist from the work of art and ask the questions: what is art and how does it work?<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"278\"]\"Robert 6.15<\/strong> Robert Rauschenberg, Reservoir, 1961, oil, wood, graphite, fabric, metal, and rubber on canvas, Smithsonian American Art Museum, 85 \u00bd x 62 \u00bd x15 \u00bd.2<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"341\"]\"Robert 6.16<\/strong> Robert Rauschenberg, Riding Bikes, 1998, Berlin Germany.1<\/a><\/sup>[\/caption]\r\n

<\/p>\r\n\r\n<\/div>\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n

\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"276\"]\"Robert 6.17<\/strong> Robert Rauschenberg, Retroactive II, 1963, Chicago, Illinois.3<\/a><\/sup>[\/caption]\r\n\r\n
\r\n\r\nRobert Rauschenberg, Bed <\/span><\/a>4:48<\/strong>If you receive an error with the link above, use the following link https:\/\/www.khanacademy.org\/humanities\/art-1010\/post-war-american-art\/new-york-school\/v\/robert-rauschenberg-bed-1955?modal=1<\/a>\r\n\r\n<\/div>\r\n

Jasper Johns<\/strong><\/h2>\r\n

Jasper Johns (1930-) is still living as of the writing of this textbook. He received the Presidential Medal of Freedom from Barak Obama in 2011 at the age of eighty. He is best known for his images of targets, the American flag, numbers and letters. His idea is to paint or print objects that the mind already knows. This forces the viewer to reevaluate the work. Is it a flag? How do I feel about that flag? What does it mean to me? What do those letters or numbers mean? Art historians have placed him in both Abstract Expressionism and in Pop art, but maybe he is best thought of as a bridge between the two categories.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"296\"]\"Jasper 6.18<\/strong> Jasper Johns, Gray Alphabets, 1968, 51x34\u201d, color lithograph on paper, Smithsonian American Art Museum.4<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"329\"]\"Jasper 6.19<\/strong> Jasper Johns, Numerals, 0 through 9, 1970, 30x23 \u00bd \u201c, lead relief,Smithsonian American Art Museum.5<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n

\r\n

\u00a0 \u00a0 Jasper Johns placed repeated letters of the alphabet into a grid in his 1968 printed work Gray Alphabets. He used the same idea in Numerals, 0 through 9, which forces the viewer to look closely at the work to find the numbers. Watch the videos to learn more about Johns\u2019 flag paintings.<\/p>\r\n\r\n<\/div>\r\n

\r\n
\r\n\r\nJasper Johns, Flag<\/span><\/a> 6:04<\/strong>, Johns, White Flag<\/span><\/a> 2:46<\/strong>If you receive an error with the links above, use the following links https:\/\/www.khanacademy.org\/humanities\/art-1010\/post-war-american-art\/new-york-school\/v\/jasper-johns-flag?modal=1<\/a>,\u00a0<\/span>https:\/\/www.khanacademy.org\/humanities\/art-1010\/post-war-american-art\/new-york-school\/v\/below-the-surface?modal=1<\/a>\r\n\r\n<\/div>\r\n

Roy Lichtenstein<\/strong><\/h2>\r\n

Roy Lichtenstein (1930-1997) was a Jewish American pop artist He grew up in New York and was drafted into the Army and served in Europe during WWII. After the war he taught for a time and then met Claes Oldenburg and Jim Dine, and then returned to New York. He was particularly interested in comic strips and depictions of advertizing. He appeared in documentaries and made posters for political events, such as Bill Clinton\u2019s presidential campaign. Many of his works include dots, which are reminiscent of the dots made when printing cartoons and other inexpensive works for mass distribution. The dots in his paintings are not printed, but are painted by hand. For instance, see image 6.20, which is made of felted fabric. Each dot is individually cut and placed on the background. Lichtenstein was interested in the works of the Impressionist Claude Monet and made several works that were based on Monet\u2019s Rouen Cathedral series and his haystacks, but the images were made with painted dots. View the video to see an example of this process. Even his sculpture has the familiar dots.<\/p>\r\n\r\n

\r\n\r\nRouen Cathedral Set V<\/span><\/a> 3:096<\/a>\u00a0<\/sup><\/strong>If you receive an error with the link above, use the following link https:\/\/smarthistory.org\/roy-lichtenstein-rouen-cathedral-set-v\/<\/a>\r\n\r\n<\/div>\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"265\"]\"Roy 6.20<\/strong> Roy Lichtenstein, Night Seascape, 1977, felt.7<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"361\"]\"Roy 6.21<\/strong> Roy Lichtenstein, Cap de Barcelona, mixed media, Barcelona, Spain.8<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\n
\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n<\/div>\r\n

<\/h3>\r\n \r\n\r\n \r\n

Andy Warhol<\/h2>\r\n
\r\n

Andy Warhol (1928-1987) was born in Pittsburgh and died in New York. He was a painter, a printmaker and a filmmaker and was a leader in the Pop Art movement. His idea was that American culture was too commercialized, although he worked as a commercial illustrator after he graduated from the Carnegie Institute of Technology in 1949. In 1962 he began painting soup cans, Coca-Cola bottles and other images of everyday consumer goods. By 1963 he began using the silkscreen method to mass produce images of celebrities in outlandish color variations. In a way he was making fun of American consumerism, and that was what made Pop art of the 1960s significant. Later in the decade he focused more of his time making films which were long (up to 25 hours), boring, and erotic.9<\/a><\/sup><\/p>\r\n\r\n

\r\n

Mass Consumerism, Warhol, and 1960\u2019s America<\/span><\/a><\/strong>5:2210<\/a><\/sup><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/warhol-coca-cola<\/a><\/p>\r\n

Why is this art? Andy Warhol, Campbell\u2019s Soup Cans<\/span><\/a><\/strong> 7:0811<\/a><\/sup><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/andy-warhol-campbell-s-soup-cans-why-is-this-art<\/a><\/p>\r\n

The case for Andy Warhol<\/strong><\/span><\/a> 3:4312<\/a><\/sup><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/the-case-for-andy-warhol-the-art-assignment-pbs-digital-studios<\/a><\/p>\r\n

Warhol, Gold Marilyn Monroe<\/strong><\/span><\/a> 3:1413<\/a><\/sup><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/warhol-gold-marilyn-monroe-1962<\/a><\/p>\r\n\r\n<\/div>\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"479\"]\"Andy 6.22<\/strong> Andy Warhol, Campbell\u2019s (Andy Warhol Special Edition), 2015.14<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"409\"]\"Andy 6.23<\/strong> Andy Warhol, Campbell\u2019s Soup, Museum of Modern Art.15<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"366\"]\"Andy 6.24<\/strong> Andy Warhol, Portrait of Mao Zedong.16<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"216\"]\"Andy 6.25<\/strong> Andy Warhol, Silver Clouds, traveling exhibit, 2014.\u00a0 .17<\/a><\/sup>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n<\/div>\r\n \r\n\r\n \r\n\r\n \r\n

Claes Oldenburg<\/strong><\/h2>\r\n
\r\n

Claes Oldenburg (1929-2022) was born in Stockholm, Sweden, the son of a Swedish diplomat. He became an American citizen in 1953 and studied at Yale and at the Art Institute in Chicago. In 1961 he opened an actual store on 2nd Street in New York and willed it with objects made of painted plaster and attractively priced for such prices as $198.99. Many of these objects represented food, such as ice cream sundaes, sandwiches, or pieces of cake toughly modeled and garishly painted. His early works were a mixture of magazine illustrations, paintings, collages and eventually large outdoor public sculptures. Many of his large works were made in collaboration with Coosje van Bruggen, whom he married in 1977. Later, with his wife doing much of the sewing, that began creating these food delicacies in vinyl and canvas, stuffed with kapok, but now on a gigantic scale as they might appear in a surrealist nightmare. He was interested in the Pop culture and in performance art. \u201cIn 1985 his work Knife Ship 1, a giant Swiss Army knife with oars was part of the performance of Il Corso del Coltello which was performed in Venice which was then sent to museums in America and Europe.\u201d18<\/a><\/sup><\/p>\r\n\r\n

\r\n\r\nOldenburg, Floor Cake<\/span><\/a> - 3:2919<\/a><\/sup><\/sup><\/strong>If you receive an error with the link above, use the following link\u00a0<\/span>https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/oldenburg-floor-cake-1962<\/a>\r\n\r\n<\/div>\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"183\"]\"Claes 6.26<\/strong> Claes Oldenburg, Apple Core, 1992, \/stainless steel, urethane foam, resin, enamel, 118x118x79\u201d, Israel Museum, Jerusalem.21<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"410\"]\"Claes 6.27<\/strong> Claes Oldenburg and Coosje van Bruggen, Balancing Tools, 1984, Steel painted with polyurethane enamel, 26x29.5x19\u2019, Weil am Rhein, Germany.20<\/a><\/sup>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"289\"]\"Claes 6.28<\/strong> Claes Oldenburg and Coosje van Bruggen, Dropped Cone, 393\u2019, 2001 Neumarkt-Gallery, Cologne, Germany. 22<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"314\"]\"Claes 6.29<\/strong> Claes Oldenburg and Coosje van Bruggen, Flying Pins in Eindhoven, North Brabant, Netherlands, 2000, steel, Fiberglass, epoxy resins, gelcoat, enamels, 66x25x123\u2019.23<\/a><\/sup>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n

Oldenburg\u2019s use of soft materials led him ultimately to the translation of rigid objects such as bathroom or kitchen fixtures, into soft and collapsing versions. These familiar objects such as toilets, bathtubs, typewriters or radiators, which were now collapsing, became disturbing commentaries on contemporary life. In the opposite track he also took things that were soft, such as an ice cream cone, and made it giant sized, and plopped it on the top of a five story building. He has also made proposals for many monuments that were not made, such as a giant concrete block inscribed with the names of the war dead, placed in the middle of an intersection. So far no one commissioned that work.<\/p>\r\n\r\n

D<\/strong>avid Smith<\/strong><\/h2>\r\n

Roland David Smith (1906-1965) was born in Indiana and attended several colleges for a short time before taking a job on an automobile assembly line. He moved to New York in 1926 where he met and married his wife of 25 years, Dorothy Dehner. While in New York he joined the Art Students League of New York he studied with John Sloan and was introduced to the work of Picasso, Mondrian, and Kandinsky. For a time he worked in the Works Progress Administration\u2019s Federal Art Project where he also became familiar with the welded sculpture of Julio Gonzalez and Picasso. He worked as a welder during World War II, making locomotives and tanks. The skills he learned in the automotive assembly line and during the war led him to make sculpture by welding and using an acetylene torch rather than casting metals as had been done for centuries in the past.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"317\"]\"David 6.30<\/strong> David Smith, Big Diamond, 1952.24<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"245\"]\"David 6.31<\/strong> David Smith, Home of the Welder, 1945, steel, Tate Gallery.24<\/a><\/sup>[\/caption]\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n<\/div>\r\n

<\/div>\r\n
<\/div>\r\n
<\/div>\r\n
\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"322\"]\"David 6.32<\/strong> David Smith, Cubi XII, 1963, 109x49x26\u201d. 26<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"242\"]\"David 6.33<\/strong> David Smith, Cubi XIII, 1963-64, stainless steel, Princeton University Campus.27<\/a><\/sup>[\/caption]\r\n\r\n \r\n\r\n<\/div>\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n
\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"286\"]\"David 6.34<\/strong> David Smith, Cubi VI, 112x30x22\u201d, 1963, Stainless steel, Israel Museum, Jerusalem.28<\/a><\/sup>[\/caption]\r\n

Smith often made a series of similar, though unique sculptures, often using stainless steel which he burnished to give the surface a texture that could be compared to the application of paint used by the abstract expressionist painters.<\/p>\r\n\r\n

George Segal<\/strong><\/h2>\r\n

George Segal was born in New York City. (1924-2000) His parents, a Jewish family from Eastern Europe, owned a kosher butcher shop on 174th<\/sup> Street in New York and bought a chicken farm in New Jersey where they raised their family. George attended New York University and graduated in 1949 with a teaching degree. He became friends with artists in New York and New Jersey. He is best known for his life-sized figures made from bandages soaked in plaster. George\u2019s process was to wrap his friends and family in wet bandages, and then remove the hardened shell and put it back together with more plaster. He then used found objects to create a \u201cscene\u201d and placed the figures in them. These could be park benches, couches, different modes of transportation, or beds.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"438\"]\"George 6.35<\/strong> George Segal, The Restaurant, 27x39\u201d, photograph, oil, charcoal, gouache, 1975, Smithsonian American Art Museum.29<\/a><\/sup>[\/caption]\r\n

Phyllis Tuckman quoted Segal in her book George Segal, Modern Masters, Vol. 5, \u201cMy generation had a different mark on it because just about everybody was willing to fight Hitler. There was unanimity, a singleness of purpose in the United States during World War II. When I was a young kid, I remember everybody struggling or insecure or anzious about jobs being very scarce. But the streets were safe, and everybody agreed to play by the rules. Everybody thought there were in it together. There was a aense of extended family. It shattered after the war. The period you\u2019re recalling was a disintegration into individual ego, self-gratification, and loss of identity to something outside of yourself or your body or your own sensations. My generation carries a memory of another set of attitudes.\u201d30<\/a><\/sup><\/p>\r\n

In the 1990\u2019s President Bill Clinton dedicated a memorial in Washington D.C. to honor Franklin Delano Roosevelt, and Segal was asked to create a life sized bread line to commemorate the struggles of the Great Depression.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"397\"]\"George 6.36<\/strong> George Segal, Rural Couple, FDR Memorial, 1999, Washington D.C.31<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"319\"]\"George 6.37<\/strong> George Segal, Man on a Bicycle, 1964, Stedelijk Museum, Amsterdam, Netherlands.32<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"283\"]\"George 6.38<\/strong> George Segal, Rush Hour, 1983, 73x74x67\u201d, bronze, Finsbury Avenue Square, Broadgate, London.33<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\n

<\/div>\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 1<\/a> Photo by Hans Bug, CC BY-SA 3.0 by Hans Bug, https:\/\/commons.wikimedia.org\/wiki\/File:Rauschenberg3.JPG<\/div>\r\n
2<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/reservoir-20593<\/div>\r\n
3<\/a> Photo by Sharon Mollerus, CC BY-SA 2,0, https:\/\/commons.wikimedia.org\/wiki\/File:Robert_Rauschenberg,_Retroactive_II,_1963_1_26_18_-mcachicago_(38559559950).jpg<\/div>\r\n
4<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/gray-alphabets-11473<\/div>\r\n
5<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/numerals-0-through-9-11475<\/div>\r\n
6<\/a> Dr. Beth Harris and Dr. Steven Zucker, \"Roy Lichtenstein, Rouen Cathedral Set V,\" in Smarthistory, November 25, 2015, accessed August 10, 2022, https:\/\/smarthistory.org\/roy-lichtenstein-rouen-cathedral-set-v\/<\/div>\r\n
7<\/a> Photo and usage courtesy of the Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/night-seascape-14711<\/div>\r\n
8<\/a> Photo by Bert Kaufmann,, CC BY-SA 2.0, https:\/\/commons.wikimedia.org\/wiki\/File:Barcelona_(3392396182).jpg<\/div>\r\n
9<\/a> Britannica.com, accessed 15 August, 2022, https:\/\/www.britannica.com\/biography\/Andy-Warhol<\/div>\r\n
10<\/a> Andy Warhol, Coca-Cola [3], 1962, casein on canvas, 69 x 54\u201d (Crystal Bridges Museum of American Art, \u00a9 The Andy Warhol Foundation for the Visual Arts), a Seeing America video Speakers: Alejo Benedetti and Steven Zucker Created by Beth Harris and Steven Zucker. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/warhol-coca-cola<\/div>\r\n
11<\/a> Steven Zucker and Sal Khan discuss Andy Warhol's Campbell's Soup Cans. Created by Beth Harris, Steven Zucker, and Sal Khan. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/andy-warhol-campbell-s-soup-cans-why-is-this-art<\/div>\r\n
12<\/a> Created by Beth Harris and Steven Zucker. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/the-case-for-andy-warhol-the-art-assignment-pbs-digital-studios<\/div>\r\n
13<\/a>Andy Warhol, Gold Marilyn Monroe, Silkscreen ink on synthetic polymer paint on canvas, 71.25 x 57 in. (211.4 x 144.7 cm), 1962 (MoMA). Created by Beth Harris and Steven Zucker. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/the-case-for-andy-warhol-the-art-assignment-pbs-digital-studios<\/div>\r\n
14<\/a>Photo by Jonn Leffmann, CC BY-SA 3.0 https:\/\/commons.wikimedia.org\/wiki\/File:Campbell%27s_(Andy_Warhol_Special_edition).jpg<\/div>\r\n
15<\/a> Photo by Gorup de Besanez, CC BY-SA 4.0 https:\/\/commons.wikimedia.org\/wiki\/File:Ame02128_22.jpg<\/div>\r\n
16<\/a> Photo by Timothy Vollmer, CC BY SA 2.0, https:\/\/commons.wikimedia.org\/wiki\/File:Hamburger_Bahnhof_(3868274968).jpg<\/div>\r\n
17<\/a> Photo by Sskerchief, CC BY-SA 3.0 https:\/\/commons.wikimedia.org\/wiki\/File:SilverClouds2.jpg<\/div>\r\n
18<\/a> Courtesy of the Guggenheim Museum, https:\/\/www.guggenheim.org\/artwork\/artist\/claes-oldenburg accessed 15 August, 2022.<\/div>\r\n
19<\/a> Claes Oldenburg, Floor Cake, 1962, synthetic polymer paint and latex on canvas filled with foam rubber and cardboard boxes, 58.375 x 114.25 x 58.375 in. (MoMA) Created by Beth Harris and Steven Zucker. Dr. Beth Harris and Dr. Steven Zucker, \"Claes Oldenburg, Floor Cake,\" in Smarthistory, November 25, 2015, accessed August 10, 2022, https:\/\/smarthistory.org\/claes-oldenburg-floor-cake\/<\/div>\r\n
20<\/a>Photo by Wladyslaw, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Vitra_Balancing_Tools.JPG<\/div>\r\n
21<\/a> Photo by Neukoln, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Apple_Core_-_Oldenburg_and_van_Bruggen.jpg<\/div>\r\n
22<\/a> Photo by \u00a9 Raimond Spekking \/CC BY-SA 4.0 https:\/\/commons.wikimedia.org\/wiki\/File:Neumarkt-Galerie,_K%C3%B6ln_mit_Skulptur_Dropped_Cone_-_Claes_Oldenburg_und_Coosje_van_Bruggen-8706.jpg<\/div>\r\n
23<\/a> Photo by Lempkesfabriek, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Flying_Pins3.jpg<\/div>\r\n
24<\/a> Photo by smallcurio, CC BY-SA 4.0, https:\/\/commons.wikimedia.org\/wiki\/File:David_Smith,_Big_Diamond_(1952)_(34885347616)_cropped.jpg<\/div>\r\n
25<\/a> Photo by Marie-Las Nguyen, CC BY-SA 2.5, https:\/\/commons.wikimedia.org\/wiki\/File:Home_of_the_welder_Tate_Modern_L01025_n01.jpg<\/div>\r\n
26<\/a> Photo by Slowking, CC BY-NC, https:\/\/commons.wikimedia.org\/wiki\/File:Cubi_xii_6283224.JPG<\/div>\r\n
27<\/a> Photo by Undead, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Cubi_XIII_by_David_Smith.jpg<\/div>\r\n
28<\/a> Photo by Talmoryair, public domain, https:\/\/commons.wikimedia.org\/wiki\/File:SMITH_CUBI_VI.JPG<\/div>\r\n
29<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/restaurant-22112<\/div>\r\n
30<\/a> Phyllis Tuchman, George Segal, Modern Masters Series, Vol. 5, Abbeyville Press, 1992, New York, p. 12.<\/div>\r\n
31<\/a> Photo by Carol M. Highsmith, public domain, https:\/\/commons.wikimedia.org\/wiki\/File:FDR-Memorial-One-Third-of-a-Nation-color.jpg<\/div>\r\n
32<\/a>Photo by Jan Arkesteijn, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Jan_Wolkers_(1964).jpg<\/div>\r\n
33<\/a> Photo by Bobulous, CC BY-SA 4.0, https:\/\/commons.wikimedia.org\/wiki\/File:Rush_Hour_by_George_Segal.jpg<\/div>","rendered":"
\n

R<\/strong>obert Rauschenberg<\/strong><\/h2>\n

Robert Rauschenberg (1928-2008) blurred the lines between painting and sculpture. His mature works, known as Combines, used every day, discarded objects that had been made by others. He wanted his art to show how a mundane object could also be beautiful. His work Reservoir<\/em>, see figure\u00a06.15<\/strong> is made using things he found on the streets of lower Manhattan where he lived. The two clocks are set to the time he started the work and the time he finished it. Rauschenberg said that the canvas is not a window into space, but a surface, like a desktop, onto which things are piled. He wanted to remove the artist from the work of art and ask the questions: what is art and how does it work?<\/p>\n

\"Robert
6.15<\/strong> Robert Rauschenberg, Reservoir, 1961, oil, wood, graphite, fabric, metal, and rubber on canvas, Smithsonian American Art Museum, 85 \u00bd x 62 \u00bd x15 \u00bd.2<\/a><\/sup><\/figcaption><\/figure>\n
\"Robert
6.16<\/strong> Robert Rauschenberg, Riding Bikes, 1998, Berlin Germany.1<\/a><\/sup><\/figcaption><\/figure>\n

\n<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\n
\"Robert
6.17<\/strong> Robert Rauschenberg, Retroactive II, 1963, Chicago, Illinois.3<\/a><\/sup><\/figcaption><\/figure>\n
\n

Robert Rauschenberg, Bed <\/span><\/a>4:48<\/strong>If you receive an error with the link above, use the following link https:\/\/www.khanacademy.org\/humanities\/art-1010\/post-war-american-art\/new-york-school\/v\/robert-rauschenberg-bed-1955?modal=1<\/a><\/p>\n<\/div>\n

Jasper Johns<\/strong><\/h2>\n

Jasper Johns (1930-) is still living as of the writing of this textbook. He received the Presidential Medal of Freedom from Barak Obama in 2011 at the age of eighty. He is best known for his images of targets, the American flag, numbers and letters. His idea is to paint or print objects that the mind already knows. This forces the viewer to reevaluate the work. Is it a flag? How do I feel about that flag? What does it mean to me? What do those letters or numbers mean? Art historians have placed him in both Abstract Expressionism and in Pop art, but maybe he is best thought of as a bridge between the two categories.<\/p>\n

\"Jasper
6.18<\/strong> Jasper Johns, Gray Alphabets, 1968, 51×34\u201d, color lithograph on paper, Smithsonian American Art Museum.4<\/a><\/sup><\/figcaption><\/figure>\n
\"Jasper
6.19<\/strong> Jasper Johns, Numerals, 0 through 9, 1970, 30×23 \u00bd \u201c, lead relief,Smithsonian American Art Museum.5<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\n

\u00a0 \u00a0 Jasper Johns placed repeated letters of the alphabet into a grid in his 1968 printed work Gray Alphabets. He used the same idea in Numerals, 0 through 9, which forces the viewer to look closely at the work to find the numbers. Watch the videos to learn more about Johns\u2019 flag paintings.<\/p>\n<\/div>\n

\n
\n

Jasper Johns, Flag<\/span><\/a> 6:04<\/strong>, Johns, White Flag<\/span><\/a> 2:46<\/strong>If you receive an error with the links above, use the following links https:\/\/www.khanacademy.org\/humanities\/art-1010\/post-war-american-art\/new-york-school\/v\/jasper-johns-flag?modal=1<\/a>,\u00a0<\/span>https:\/\/www.khanacademy.org\/humanities\/art-1010\/post-war-american-art\/new-york-school\/v\/below-the-surface?modal=1<\/a><\/p>\n<\/div>\n

Roy Lichtenstein<\/strong><\/h2>\n

Roy Lichtenstein (1930-1997) was a Jewish American pop artist He grew up in New York and was drafted into the Army and served in Europe during WWII. After the war he taught for a time and then met Claes Oldenburg and Jim Dine, and then returned to New York. He was particularly interested in comic strips and depictions of advertizing. He appeared in documentaries and made posters for political events, such as Bill Clinton\u2019s presidential campaign. Many of his works include dots, which are reminiscent of the dots made when printing cartoons and other inexpensive works for mass distribution. The dots in his paintings are not printed, but are painted by hand. For instance, see image 6.20, which is made of felted fabric. Each dot is individually cut and placed on the background. Lichtenstein was interested in the works of the Impressionist Claude Monet and made several works that were based on Monet\u2019s Rouen Cathedral series and his haystacks, but the images were made with painted dots. View the video to see an example of this process. Even his sculpture has the familiar dots.<\/p>\n

\n

Rouen Cathedral Set V<\/span><\/a> 3:096<\/a>\u00a0<\/sup><\/strong>If you receive an error with the link above, use the following link https:\/\/smarthistory.org\/roy-lichtenstein-rouen-cathedral-set-v\/<\/a><\/p>\n<\/div>\n

\"Roy
6.20<\/strong> Roy Lichtenstein, Night Seascape, 1977, felt.7<\/a><\/sup><\/figcaption><\/figure>\n
\"Roy
6.21<\/strong> Roy Lichtenstein, Cap de Barcelona, mixed media, Barcelona, Spain.8<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n
\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n<\/div>\n

<\/h3>\n

 <\/p>\n

 <\/p>\n

Andy Warhol<\/h2>\n
\n

Andy Warhol (1928-1987) was born in Pittsburgh and died in New York. He was a painter, a printmaker and a filmmaker and was a leader in the Pop Art movement. His idea was that American culture was too commercialized, although he worked as a commercial illustrator after he graduated from the Carnegie Institute of Technology in 1949. In 1962 he began painting soup cans, Coca-Cola bottles and other images of everyday consumer goods. By 1963 he began using the silkscreen method to mass produce images of celebrities in outlandish color variations. In a way he was making fun of American consumerism, and that was what made Pop art of the 1960s significant. Later in the decade he focused more of his time making films which were long (up to 25 hours), boring, and erotic.9<\/a><\/sup><\/p>\n

\n

Mass Consumerism, Warhol, and 1960\u2019s America<\/span><\/a><\/strong>5:2210<\/a><\/sup><\/p>\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/warhol-coca-cola<\/a><\/p>\n

Why is this art? Andy Warhol, Campbell\u2019s Soup Cans<\/span><\/a><\/strong> 7:0811<\/a><\/sup><\/p>\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/andy-warhol-campbell-s-soup-cans-why-is-this-art<\/a><\/p>\n

The case for Andy Warhol<\/strong><\/span><\/a> 3:4312<\/a><\/sup><\/p>\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/the-case-for-andy-warhol-the-art-assignment-pbs-digital-studios<\/a><\/p>\n

Warhol, Gold Marilyn Monroe<\/strong><\/span><\/a> 3:1413<\/a><\/sup><\/p>\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/warhol-gold-marilyn-monroe-1962<\/a><\/p>\n<\/div>\n

\"Andy
6.22<\/strong> Andy Warhol, Campbell\u2019s (Andy Warhol Special Edition), 2015.14<\/a><\/sup><\/figcaption><\/figure>\n
\"Andy
6.23<\/strong> Andy Warhol, Campbell\u2019s Soup, Museum of Modern Art.15<\/a><\/sup><\/figcaption><\/figure>\n
\"Andy
6.24<\/strong> Andy Warhol, Portrait of Mao Zedong.16<\/a><\/sup><\/figcaption><\/figure>\n
\"Andy
6.25<\/strong> Andy Warhol, Silver Clouds, traveling exhibit, 2014.\u00a0 .17<\/a><\/sup><\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Claes Oldenburg<\/strong><\/h2>\n
\n

Claes Oldenburg (1929-2022) was born in Stockholm, Sweden, the son of a Swedish diplomat. He became an American citizen in 1953 and studied at Yale and at the Art Institute in Chicago. In 1961 he opened an actual store on 2nd Street in New York and willed it with objects made of painted plaster and attractively priced for such prices as $198.99. Many of these objects represented food, such as ice cream sundaes, sandwiches, or pieces of cake toughly modeled and garishly painted. His early works were a mixture of magazine illustrations, paintings, collages and eventually large outdoor public sculptures. Many of his large works were made in collaboration with Coosje van Bruggen, whom he married in 1977. Later, with his wife doing much of the sewing, that began creating these food delicacies in vinyl and canvas, stuffed with kapok, but now on a gigantic scale as they might appear in a surrealist nightmare. He was interested in the Pop culture and in performance art. \u201cIn 1985 his work Knife Ship 1, a giant Swiss Army knife with oars was part of the performance of Il Corso del Coltello which was performed in Venice which was then sent to museums in America and Europe.\u201d18<\/a><\/sup><\/p>\n

\n

Oldenburg, Floor Cake<\/span><\/a> – 3:2919<\/a><\/sup><\/sup><\/strong>If you receive an error with the link above, use the following link\u00a0<\/span>https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/oldenburg-floor-cake-1962<\/a><\/p>\n<\/div>\n

\"Claes
6.26<\/strong> Claes Oldenburg, Apple Core, 1992, \/stainless steel, urethane foam, resin, enamel, 118x118x79\u201d, Israel Museum, Jerusalem.21<\/a><\/sup><\/figcaption><\/figure>\n
\"Claes
6.27<\/strong> Claes Oldenburg and Coosje van Bruggen, Balancing Tools, 1984, Steel painted with polyurethane enamel, 26×29.5×19\u2019, Weil am Rhein, Germany.20<\/a><\/sup><\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\"Claes
6.28<\/strong> Claes Oldenburg and Coosje van Bruggen, Dropped Cone, 393\u2019, 2001 Neumarkt-Gallery, Cologne, Germany. 22<\/a><\/sup><\/figcaption><\/figure>\n
\"Claes
6.29<\/strong> Claes Oldenburg and Coosje van Bruggen, Flying Pins in Eindhoven, North Brabant, Netherlands, 2000, steel, Fiberglass, epoxy resins, gelcoat, enamels, 66x25x123\u2019.23<\/a><\/sup><\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

Oldenburg\u2019s use of soft materials led him ultimately to the translation of rigid objects such as bathroom or kitchen fixtures, into soft and collapsing versions. These familiar objects such as toilets, bathtubs, typewriters or radiators, which were now collapsing, became disturbing commentaries on contemporary life. In the opposite track he also took things that were soft, such as an ice cream cone, and made it giant sized, and plopped it on the top of a five story building. He has also made proposals for many monuments that were not made, such as a giant concrete block inscribed with the names of the war dead, placed in the middle of an intersection. So far no one commissioned that work.<\/p>\n

D<\/strong>avid Smith<\/strong><\/h2>\n

Roland David Smith (1906-1965) was born in Indiana and attended several colleges for a short time before taking a job on an automobile assembly line. He moved to New York in 1926 where he met and married his wife of 25 years, Dorothy Dehner. While in New York he joined the Art Students League of New York he studied with John Sloan and was introduced to the work of Picasso, Mondrian, and Kandinsky. For a time he worked in the Works Progress Administration\u2019s Federal Art Project where he also became familiar with the welded sculpture of Julio Gonzalez and Picasso. He worked as a welder during World War II, making locomotives and tanks. The skills he learned in the automotive assembly line and during the war led him to make sculpture by welding and using an acetylene torch rather than casting metals as had been done for centuries in the past.<\/p>\n

\"David
6.30<\/strong> David Smith, Big Diamond, 1952.24<\/a><\/sup><\/figcaption><\/figure>\n
\"David
6.31<\/strong> David Smith, Home of the Welder, 1945, steel, Tate Gallery.24<\/a><\/sup><\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n<\/div>\n

<\/div>\n
<\/div>\n
<\/div>\n
\n
\"David
6.32<\/strong> David Smith, Cubi XII, 1963, 109x49x26\u201d. 26<\/a><\/sup><\/figcaption><\/figure>\n
\"David
6.33<\/strong> David Smith, Cubi XIII, 1963-64, stainless steel, Princeton University Campus.27<\/a><\/sup><\/figcaption><\/figure>\n

 <\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\n
\"David
6.34<\/strong> David Smith, Cubi VI, 112x30x22\u201d, 1963, Stainless steel, Israel Museum, Jerusalem.28<\/a><\/sup><\/figcaption><\/figure>\n

Smith often made a series of similar, though unique sculptures, often using stainless steel which he burnished to give the surface a texture that could be compared to the application of paint used by the abstract expressionist painters.<\/p>\n

George Segal<\/strong><\/h2>\n

George Segal was born in New York City. (1924-2000) His parents, a Jewish family from Eastern Europe, owned a kosher butcher shop on 174th<\/sup> Street in New York and bought a chicken farm in New Jersey where they raised their family. George attended New York University and graduated in 1949 with a teaching degree. He became friends with artists in New York and New Jersey. He is best known for his life-sized figures made from bandages soaked in plaster. George\u2019s process was to wrap his friends and family in wet bandages, and then remove the hardened shell and put it back together with more plaster. He then used found objects to create a \u201cscene\u201d and placed the figures in them. These could be park benches, couches, different modes of transportation, or beds.<\/p>\n

\"George
6.35<\/strong> George Segal, The Restaurant, 27×39\u201d, photograph, oil, charcoal, gouache, 1975, Smithsonian American Art Museum.29<\/a><\/sup><\/figcaption><\/figure>\n

Phyllis Tuckman quoted Segal in her book George Segal, Modern Masters, Vol. 5, \u201cMy generation had a different mark on it because just about everybody was willing to fight Hitler. There was unanimity, a singleness of purpose in the United States during World War II. When I was a young kid, I remember everybody struggling or insecure or anzious about jobs being very scarce. But the streets were safe, and everybody agreed to play by the rules. Everybody thought there were in it together. There was a aense of extended family. It shattered after the war. The period you\u2019re recalling was a disintegration into individual ego, self-gratification, and loss of identity to something outside of yourself or your body or your own sensations. My generation carries a memory of another set of attitudes.\u201d30<\/a><\/sup><\/p>\n

In the 1990\u2019s President Bill Clinton dedicated a memorial in Washington D.C. to honor Franklin Delano Roosevelt, and Segal was asked to create a life sized bread line to commemorate the struggles of the Great Depression.<\/p>\n

\"George
6.36<\/strong> George Segal, Rural Couple, FDR Memorial, 1999, Washington D.C.31<\/a><\/sup><\/figcaption><\/figure>\n
\"George
6.37<\/strong> George Segal, Man on a Bicycle, 1964, Stedelijk Museum, Amsterdam, Netherlands.32<\/a><\/sup><\/figcaption><\/figure>\n
\"George
6.38<\/strong> George Segal, Rush Hour, 1983, 73x74x67\u201d, bronze, Finsbury Avenue Square, Broadgate, London.33<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n
<\/div>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 1<\/a> Photo by Hans Bug, CC BY-SA 3.0 by Hans Bug, https:\/\/commons.wikimedia.org\/wiki\/File:Rauschenberg3.JPG<\/div>\n
2<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/reservoir-20593<\/div>\n
3<\/a> Photo by Sharon Mollerus, CC BY-SA 2,0, https:\/\/commons.wikimedia.org\/wiki\/File:Robert_Rauschenberg,_Retroactive_II,_1963_1_26_18_-mcachicago_(38559559950).jpg<\/div>\n
4<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/gray-alphabets-11473<\/div>\n
5<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/numerals-0-through-9-11475<\/div>\n
6<\/a> Dr. Beth Harris and Dr. Steven Zucker, “Roy Lichtenstein, Rouen Cathedral Set V,” in Smarthistory, November 25, 2015, accessed August 10, 2022, https:\/\/smarthistory.org\/roy-lichtenstein-rouen-cathedral-set-v\/<\/div>\n
7<\/a> Photo and usage courtesy of the Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/night-seascape-14711<\/div>\n
8<\/a> Photo by Bert Kaufmann,, CC BY-SA 2.0, https:\/\/commons.wikimedia.org\/wiki\/File:Barcelona_(3392396182).jpg<\/div>\n
9<\/a> Britannica.com, accessed 15 August, 2022, https:\/\/www.britannica.com\/biography\/Andy-Warhol<\/div>\n
10<\/a> Andy Warhol, Coca-Cola [3], 1962, casein on canvas, 69 x 54\u201d (Crystal Bridges Museum of American Art, \u00a9 The Andy Warhol Foundation for the Visual Arts), a Seeing America video Speakers: Alejo Benedetti and Steven Zucker Created by Beth Harris and Steven Zucker. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/warhol-coca-cola<\/div>\n
11<\/a> Steven Zucker and Sal Khan discuss Andy Warhol’s Campbell’s Soup Cans. Created by Beth Harris, Steven Zucker, and Sal Khan. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/andy-warhol-campbell-s-soup-cans-why-is-this-art<\/div>\n
12<\/a> Created by Beth Harris and Steven Zucker. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/the-case-for-andy-warhol-the-art-assignment-pbs-digital-studios<\/div>\n
13<\/a>Andy Warhol, Gold Marilyn Monroe, Silkscreen ink on synthetic polymer paint on canvas, 71.25 x 57 in. (211.4 x 144.7 cm), 1962 (MoMA). Created by Beth Harris and Steven Zucker. https:\/\/www.khanacademy.org\/humanities\/art-1010\/xdc974a79:pop-art\/xdc974a79:american-and-european-pop-art\/v\/the-case-for-andy-warhol-the-art-assignment-pbs-digital-studios<\/div>\n
14<\/a>Photo by Jonn Leffmann, CC BY-SA 3.0 https:\/\/commons.wikimedia.org\/wiki\/File:Campbell%27s_(Andy_Warhol_Special_edition).jpg<\/div>\n
15<\/a> Photo by Gorup de Besanez, CC BY-SA 4.0 https:\/\/commons.wikimedia.org\/wiki\/File:Ame02128_22.jpg<\/div>\n
16<\/a> Photo by Timothy Vollmer, CC BY SA 2.0, https:\/\/commons.wikimedia.org\/wiki\/File:Hamburger_Bahnhof_(3868274968).jpg<\/div>\n
17<\/a> Photo by Sskerchief, CC BY-SA 3.0 https:\/\/commons.wikimedia.org\/wiki\/File:SilverClouds2.jpg<\/div>\n
18<\/a> Courtesy of the Guggenheim Museum, https:\/\/www.guggenheim.org\/artwork\/artist\/claes-oldenburg accessed 15 August, 2022.<\/div>\n
19<\/a> Claes Oldenburg, Floor Cake, 1962, synthetic polymer paint and latex on canvas filled with foam rubber and cardboard boxes, 58.375 x 114.25 x 58.375 in. (MoMA) Created by Beth Harris and Steven Zucker. Dr. Beth Harris and Dr. Steven Zucker, “Claes Oldenburg, Floor Cake,” in Smarthistory, November 25, 2015, accessed August 10, 2022, https:\/\/smarthistory.org\/claes-oldenburg-floor-cake\/<\/div>\n
20<\/a>Photo by Wladyslaw, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Vitra_Balancing_Tools.JPG<\/div>\n
21<\/a> Photo by Neukoln, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Apple_Core_-_Oldenburg_and_van_Bruggen.jpg<\/div>\n
22<\/a> Photo by \u00a9 Raimond Spekking \/CC BY-SA 4.0 https:\/\/commons.wikimedia.org\/wiki\/File:Neumarkt-Galerie,_K%C3%B6ln_mit_Skulptur_Dropped_Cone_-_Claes_Oldenburg_und_Coosje_van_Bruggen-8706.jpg<\/div>\n
23<\/a> Photo by Lempkesfabriek, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Flying_Pins3.jpg<\/div>\n
24<\/a> Photo by smallcurio, CC BY-SA 4.0, https:\/\/commons.wikimedia.org\/wiki\/File:David_Smith,_Big_Diamond_(1952)_(34885347616)_cropped.jpg<\/div>\n
25<\/a> Photo by Marie-Las Nguyen, CC BY-SA 2.5, https:\/\/commons.wikimedia.org\/wiki\/File:Home_of_the_welder_Tate_Modern_L01025_n01.jpg<\/div>\n
26<\/a> Photo by Slowking, CC BY-NC, https:\/\/commons.wikimedia.org\/wiki\/File:Cubi_xii_6283224.JPG<\/div>\n
27<\/a> Photo by Undead, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Cubi_XIII_by_David_Smith.jpg<\/div>\n
28<\/a> Photo by Talmoryair, public domain, https:\/\/commons.wikimedia.org\/wiki\/File:SMITH_CUBI_VI.JPG<\/div>\n
29<\/a> Photo and usage courtesy of Smithsonian American Art Museum, https:\/\/americanart.si.edu\/artwork\/restaurant-22112<\/div>\n
30<\/a> Phyllis Tuchman, George Segal, Modern Masters Series, Vol. 5, Abbeyville Press, 1992, New York, p. 12.<\/div>\n
31<\/a> Photo by Carol M. Highsmith, public domain, https:\/\/commons.wikimedia.org\/wiki\/File:FDR-Memorial-One-Third-of-a-Nation-color.jpg<\/div>\n
32<\/a>Photo by Jan Arkesteijn, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/wiki\/File:Jan_Wolkers_(1964).jpg<\/div>\n
33<\/a> Photo by Bobulous, CC BY-SA 4.0, https:\/\/commons.wikimedia.org\/wiki\/File:Rush_Hour_by_George_Segal.jpg<\/div>\n","protected":false},"author":75,"menu_order":2,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-668","chapter","type-chapter","status-publish","hentry"],"part":620,"_links":{"self":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/chapters\/668","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/wp\/v2\/users\/75"}],"version-history":[{"count":9,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/chapters\/668\/revisions"}],"predecessor-version":[{"id":1462,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/chapters\/668\/revisions\/1462"}],"part":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/parts\/620"}],"metadata":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/chapters\/668\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/wp\/v2\/media?parent=668"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/pressbooks\/v2\/chapter-type?post=668"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/wp\/v2\/contributor?post=668"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/wp-json\/wp\/v2\/license?post=668"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}