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Cécile Whiting

Description: A Taste for Pop: Pop Art, Gender, and Consumer Culture

A Taste for Pop: Pop Art, Gender, and Consumer Culture

Illustrations

Author

Cécile Whiting

PublisherYale University Press

Copyright© Cambridge University Press 1997

https://doi.org/10.37862/aaeportal.00003.002

Stable URL: https://aaeportal.com/?id=-17655

Illustrations

PLATES

Plate I. Henri Dauman, Supermarket Exhibition at the Bianchini Gallery, 1964.

Plate II. Tom Wesselmann, Still Life #30, 1963.

Plate III. Tom Wesselmann, Bathtub Collage #3, 1963.

Plate IV. Roy Lichtenstein, Hopeless, 1963.

Plate V. Brazil Coffee advertisement, 1964.

Plate VI. Andy Warhol, Marilyn Monroe, 1962.

Plate VII. Marisol Escobar, Women and Dog, 1964.

Plate VIII. Horst, Model with Marisol Escobar’s Untitled, 1966.

FIGURES

Figure 1. Installation of Andy Warhol’s Pop-art canvases in the storefront window of Bonwit Teller, 1961.

Figure 2. Gene Moore, Bonwit Teller Window Display, 1959.

Figure 3. Fred W. McDarrah, Window Shoppers on Fifth Avenue, 1964.

Figure 4. Robert R. McElroy, Claes Oldenburg in His Store, 1961.

Figure 5. Fred W. McDarrah, Shoppers on Orchard Street, 1964.

Figure 6. Old Fashioned Grocery Store vs. Supermarket, 1959.

Figure 7. Nonni, What Makes Women Buy, 1956.

Figure 8. Kenneth Heyman, Supermarket Exhibition at Bianchini Gallery, 1964.

Figure 9. Campbell’s Soup advertisement, 1960.

Figure 10. Kenneth Heyman, Andy Warhol Campbell Soup Can Pyramids at Bianchini Gallery, 1964.

Figure 11. Kenneth Heyman, Mrs. Kraushar in Her Bathroom, 1965.

Figure 12. When Nixon Met Khrushchev During Their Tour of an American Exhibition in Moscow, 1959.

Figure 13. Kitchen. From “Beautiful, Budgetwise Three-Room Apartment,” 1963.

Figure 14. Herb Gehr, High-Brow, Low-Brow, Middle-Brow, 1949.

Figure 15. Tom Wesselmann, Great American Nude #6, 1961.

Figure 16. Tom Wesselmann, Still Life #31, 1963.

Figure 17. Tom Wesselmann, Great American Nude #48, 1963.

Figure 18. Tom Wesselmann, Still Life #20, 1962.

Figure 19. Living room with Renoir painting, 1953.

Figure 20. Kohler of Kohler advertisement, 1960.

Figure 21. Tom Wesselmann, Great American Nude #26, 1962.

Figure 22. Tom Wesselmann, Great American Nude #52, 1962.

Figure 23. Claes Oldenburg, Bedroom Ensemble, 1963.

Figure 24. Kenneth Heyman, View of Interior of Kraushar Home in Lawrence, New York, 1965.

Figure 25. Contemporary living room interior, 1962.

Figure 26. Henri Dauman, Mr. and Mrs. Kraushar with art dealer Ben Birillo in the collectors’ living room, 1965.

Figure 27. Kenneth Heyman, Ethel Scull with Portrait by Andy Warhol, 1965.

Figure 28. Henri Dauman, Mr. Kraushar in Bathroom, 1965.

Figure 29. Henri Dauman, Mr. Kraushar in Bedroom, 1965.

Figure 30. Playboy’s Weekend Hideaway, 1959.

Figure 31. Ben Heller’s living room with Pollock’s Blue Poles, 1961.

Figure 32. Coupon for Sunlight automatic dishwasher detergent

Figure 33. Tony Abruzzo, panel from “Run for Love!” 1962.

Figure 34. Roy Lichtenstein, Whaam, 1963.

Figure 35. Roy Lichtenstein, O.K. Hot Shot, 1963.

Figure 36. Russ Heath, panel from “Haunted Tank vs. Killer Tank,” 1962.

Figure 37. Tony Abruzzo, panel from “Run for Love!” 1962.

Figure 38. Roy Lichtenstein, Drowning Girl, 1963.

Figure 39. Roy Lichtenstein, As I Opened Fire . . . , 1964.

Figure 40. Roy Lichtenstein, Eddie Diptych, 1962.

Figure 41. Comparison of diagram in Erie Loran’s book Cézanne’s Composition with Roy Lichtenstein’s Portrait of Mme. Cézanne, 1963.

Figure 42. Hans Namuth, Jackson Pollock, 1950.

Figure 43. Roy Lichtenstein, Little Big Painting, 1965.

Figure 44. Kenneth Heyman, Roy Lichtenstein and his son Mitchell, 1965.

Figure 45. Marilyn Monroe. Publicity still for the film Niagara, 1953.

Figure 46. Andy Warhol, Liz, 1963.

Figure 47. Andy Warhol, Blue Liz as Cleopatra, 1963.

Figure 48. Bert Stern, Marilyn in Vogue, 1962.

Figure 49. Willem de Kooning, Marilyn Monroe, 1954.

Figure 50. James Gill, Marilyn, 1962.

Figure 51. Derek Marlowe, A Slight Misfit, 1962.

Figure 52. Andy Warhol, Elvis I, 1964.

Figure 53. Andy Warhol, The Week That Was I, 1963.

Figure 54. Francis Bacon, Portrait of Isabel Rawsthorne, 1966.

Figure 55. Billy Name, Look Alike. Edie Sedgewick and Andy Warhol at the Silver Factory, 1965.

Figure 56. Andy Warhol, Judy Garland, c. 1979.

Figure 57. Marisol Escobar, Women and Dog, detail, 1964.

Figure 58. Lew Merrim, Marisol Escobar with One of the Sculptures from The Party, 1965.

Figure 59. Duane Michals, Marisol Escobar, 1963.

Figure 60. Duane Michals, Marisol Escobar, 1963.

Figure 61. Gordon Parks, Helen Frankenthaler, 1957.

Figure 62. Gordon Parks, Jane Wilson, 1957.

Figure 63. Horst, Model with Tom Wesselmann’s Mouth #7, 1966.

Figure 64. Horst, Model with Vasarely’s Onix 2 and Minta, 1966.

Figure 65. Horst, Model with George Segal’s Walking Man, 1966.

Figure 66. Malcolm M. Knapp, Artists’ Fur Coats, 1963.

Figure 67. Howell Conant, The Modern American Wife, 1961.

Figure 68. AT&T advertisement, This is Your Wife, 1957.

Figure 69. Marisol Escobar, The Party, 1965–6.

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Book details

Description: A Taste for Pop: Pop Art, Gender, and Consumer Culture

BOOKA Taste for Pop: Pop Art, Gender, and Consumer Culture

Cécile Whiting

https://doi.org/10.37862/aaeportal.00003

Stable URL: https://aaeportal.com/?id=-17653

When Pop art paintings depicted Campbell’s soup cans or comic-book scenes of teen romance, did they stoop to the level of their mundane sources, or did they instead transmogrify the detritus of consumer culture into high art? In this study, Cécile Whiting declares the issue fundamentally irresolvable and instead takes the question itself, along with the varied answers it has generated, as the object of her analysis. Whiting presents case studies that focus on works by four artists—Tom Wesselmann, Roy Lichtenstein, Andy Warhol, and Marisol Escobar—who are closely associated with the Pop-art movement. Throughout her engaging analyses, Whiting unravels the gendered overtones of their cultural manoeuverings, noting how the connotations of masculinity as attached to the seriousness of high art and the presumed frivolity and caprice of a feminine world of consumption repositioned cultural frontiers and reformulated the relation between sexes.

*This eBook is available exclusively on the A&AePortal*

Author

Cécile Whiting

PublisherYale University Press

Print publication date May 1997 (out of print)

Print ISBN 9780521450041

EISBN 9780300246087

Copyright© Cambridge University Press 1997

Illustrations 77

Print Status out of print

Publisher (out of print)

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