Word: warhols
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...novelty sculpture and diner architecture. Each one features a different giant-sized muffler man or androgynous ice-cream cone creature found at real places around the country. Essentially, Griffith uses the strip as an excuse to draw things he loves three time over - once per panel. A comparison to Warhol, who also loved repetition, commercial art and pop culture, feels natural. This way "Zippy" single-handedly appropriates Pop Art into the comics page the way the comics page got appropriated into Pop Art. Interestingly, like Warhol, "Zippy" polarizes its audience into "get-its" and "don't-get-its," rather than...
Running parallel to the anti-war effort during the 1960s and 70s was Pop Art, which, like the Fluxus group, adopted everyday images. However, for Pop artists, these images became art for art’s sake. While Claes Oldenburg, Jasper Johns and Andy Warhol replicated images of consumer culture, rock and roll’s rebellion turned inwards toward the self. Studio 54’s house band, the Velvet Underground, took introspection to its apex, while No Wave bands would perform audienceless in the New York streets as firm proponents of music for music’s sake...
...comedy is never far from tragedy: Bruce Conner's short film clips intersperse hilarious scenes of people falling off bicycles with newsreels of the airship Hindenburg burning and stacked bodies in a concentration camp. And tragedy, of course, emanates from Warhol's multiple images of Marilyn Monroe that are so emblematic of the Pop genre. Warhol incorporated tragedy more explicitly using the repeated, silk-screened image of a fatal auto accident in his Orange Car Crash, as if death, too, were a mass-produced consumer good...
...much an art exhibition as what in the '60s was called a happening. The sheer three-dimensionality of it - Christo's plastic-wrapped bicycle, César's compressed automobiles, Claes Oldenburg's Store with its huge floppy pie and ice-cream cone, the aluminum-foil recreation of Andy Warhol's Factory - signals that this is a show to be experienced rather than just observed. Similarly, the inclusion of consumer products - from Yves Saint Laurent's Mondrian dress to plastic radio bracelets and Star Trek-like chairs - turns the exhibit into an exercise in pop-cultural archaeology, akin to opening...
...created the house of Yves Saint Laurent in 1961. His ideas went down much better in the relaxed atmosphere of the 1960s - creations like the Mondrian dress and the Le Smoking jacket became style icons. Saint Laurent became part of the jet set, socializing with Catherine Deneuve and Andy Warhol. Enthralled with youth culture, he opened Yves Saint Laurent Rive Gauche, a store of less expensive ready-to-wear, on the hip left bank. Bergé meanwhile worked to maximize the Saint Laurent name with fragrances and a variety of licenses. In 1993, the drug company Sanofi acquired the Saint...