American Pop Art in France : Politics of the Transatlantic Image

Résumé de l'éditeur : "Pop art was essential to the Americanization of global art in the 1960s, yet it engendered resistance and adaptation abroad in equal measure, especially in Paris. From the end of the Algerian War of Independence and the opening of Ileana Sonnabend's gallery for American Pop art in Paris in 1962, to the silkscreen poster workshops of May '68, this book examines critical adaptations of Pop motifs and pictorial devices across French painting, graphic design, cinema and protest aesthetics. Liam Considine argues that the transatlantic dispersion of Pop art gave rise to a new politics of the image that challenged americanization and prefigured the critiques and contradictions of May '68." Cover Half Title Series Page Title Page Copyright Page Dedication Table of Contents List of Figures List of Plates Acknowledgements Introduction: New Realisms The Invisible Revolution New Realisms Notes 1. Disaster in Paris The Automotive Revolution The Object-Sign Deus Ex Machina Advertising Art Advertising in the Museum Notes 2. Myth Today Colonizing Images Everyday Mythologies Man Must Be Everyday Notes 3. Made in USA: Godard’s Pop Tableaux The Screen and the Frame Plans-tableaux Star Power Straight Color, ‘Pop’ Art A World in Harmony With Our Desires “Pop Art Should Not Be Underestimated” Another Politics Notes 4. Popular Literature of Our Century Pop/Popular Art Words Take On New Meaning Minor and Deceptive Détournement “Détournement du Pop-art” “New Forms of Action Against Politics and Art” Narrative Figuration in Contemporary Art Comics par Réalisation Directe Notes 5. Screen Politics Run Comrade, The Old World Is Behind You! Atelier Populaire: Oui; Atelier Bourgeois: Non The Screen and the Frame The Image of The Image Notes Afterword: One Is No One Notes Select Bibliography Index Résumé de l'éditeur : "Pop art was essential to the Americanization of global art in the 1960s, yet it engendered resistance and adaptation abroad in equal measure, especially in Paris. From the end of the Algerian War of Independence and the opening of Ileana Sonnabend's gallery for American Pop art in Paris in 1962, to the silkscreen poster workshops of May '68, this book examines critical adaptations of Pop motifs and pictorial devices across French painting, graphic design, cinema and protest aesthetics. Liam Considine argues that the transatlantic dispersion of Pop art gave rise to a new politics of the image that challenged americanization and prefigured the critiques and contradictions of May '68." "Pop art was essential to the Americanization of global art in the 1960s, yet it engendered resistance and adaptation abroad in equal measure, especially in Paris. From the end of the Algerian War of Independence and the opening of Ileana Sonnabend's gallery for American Pop art in Paris in 1962, to the silkscreen poster workshops of May '68, this book examines critical adaptations of Pop motifs and pictorial devices across French painting, graphic design, cinema and protest aesthetics. Liam Considine argues that the transatlantic dispersion of Pop art gave rise to a new politics of the image that challenged Americanization and prefigured the critiques and contradictions of May '68"-- Provided by publisher This book examines critical adaptations of Pop motifs and pictorial techniques across French painting, graphic design, cinema and protest aesthetics in the 1960s.