Pop Art
Book
by Corinne
Miller, Nadine Monem and Margaret Nugent,
Editors
Black Dog Publishing, London, UK, 2007
196 pp., illus. 211 b/w, col. Trade, $39.95
ISBN: 1 904772 69 2.
Reviewed by Fred Andersson
Kämnärsvägen 7J: 238
Sweden
konstfred@yahoo.com
In 1956, British artist Richard Hamilton
sat down and pasted together some typical
visual fragments of advertising and cheap
consumption. The result was the collage,
"Just what is it that makes today's homes
so different, so appealing?", made for
the group show "This is tomorrow" at Whitechapel
in London. The word "POP" on a popsicle
in that collage (or really on a collaged
image of a popsicle) was later recognized
as the origin of the Pop Art phenomenon.
But collages made from cheap paper age
rapidly, and in 1992 Hamilton had to convert
it into a print. He also made a new, printed
paraphrase that really shows how things
had changed since 1956, and how the artist
himself had grown old and sardonically
nostalgic. The seated pin-up girl in the
1956 collage is here replaced by a standing
female bodybuilder, and whilst the male
protagonist of 1956 was an erect muscleman,
here he is the typical nerd seated
and totally absorbed at his computer.
The Robert Indiana paraphrase on the room's
wall doesn't contain the original exclamation
"LOVE", but instead "AIDS". And according
to the title, the home isn't "appealing"
anymore, only "different".
This telling diptych is included in the
newly issued Pop Art Book from
Black Dog Publishing, and in a way it's
telling also for the ambitions of the
book as a whole. The book tells the history
of Pop Art from a distinctively British
perspective, and it tries to underline
the relevance of Pop Art for today's Society
and today's cultural politics. Basically,
the book is a visually appealing story
of British artists consuming American
culture, going to the States in the sweet
Sixties, and busying themselves with American
troubles. Its graphic design is flamboyant,
and its visual material is exceedingly
rich. There is a plentitude of differently
coloured pages, of headlines with different
fonts, of enlarged quotations, of details
in the form of "cut-outs". There is also
a lot of documentary images and reproductions
of works. The introductory section even
contains an instruction on how to "use"
the book and its "interactive" elements
i.e. the cut-outs, some of which
can be folded.
As for the discursive element, the text
is divided into three main sections
"POP culture", "Politics," and "Consumerism".
The main sections are in their turn divided
into smaller sections with headlines ranging
from A to W (or shorter), such as "American
connections", "Brigitte Bardot", "Cowboys",
"Fairground" and so on. Apart from well-known
figures, such as Richard Hamilton and
Peter Blake, a number of equally interesting
but more anonymous British Pop artists
are presented as the encyclopedic observations
go on. Only one female artist, Pauline
Boty, is mentioned. And it's a sad fact
that she died too early (in 1966, at the
age of only 28) to have the chance to
fully develop her talent. As for the general
impression, it's remarkable that a book
that aims at telling the British history
of Pop Art still relies so heavily on
works by American artists. The presentation
is contextualizing in an accessible and
pedagogical manner, but its observations
doesn't exceed the limits of mere political
correctness. This book is an excellent
present for persons who know little beforehand
about Pop Art, or for one's children or
teenagers, but it contains very little
food for advanced reflection. And it doesn't
parade as anything more than that, either.