California Funk

Big Painting VI

"Once you got 'Pop' you could never see a sign the same way again. And once you thought Pop, you could never see America the same way again." - Andy Warhol
Please be sure to join a Rough Draft Share group on Blackboard!
Exam 2 due date has been moved to November 8
Roy Lichtenstein, Big Painting VI, 1965.











I Love You with My Ford

In spite of their popular imagery, Pop art betrays an interest in formal aesthetics
    • Large scale makes representational images abstract-like
    • Allover compositions
    • Strategic use of technique and materials
James Rosenquist, I Love You with My Ford, 1961. 82" X 93".











James Rosenquist, I Love You with My Ford, 2003. Collage.

F111 Source material












F-111 installed at MoMA, 2011












James Rosenquist, F-111, 1965. 10' X 86'.


James Rosenquist designed the eighty-six-foot-long F-111 to wrap around the four walls of the Leo Castelli Gallery, at 4 East Seventy-Seventh Street in Manhattan. He began the painting in 1964, in the middle of a turbulent decade marked by the escalating Vietnam War. Funded by citizens' tax dollars, the F-111 fighter-bomber plane was being developed as the USA's newest, most technologically advanced weapon. Rather than celebrate its military might, Rosenquist used the plane as a symbol of the economic implications of war. As it flies "through the flak of consumer society," he later explained, the jet's sharply pointed fuselage pierces superimposed images of commercial products and references to war, such as the bullet-shaped hair dryer floating above a young girl's head and the atomic mushroom cloud frozen behind a beach umbrella. Through its expansive network of colliding visual motifs, unfolding across twenty-three panels, F-111 questions what the artist has described as "the collusion between the Vietnam death machine, consumerism, the media, and advertising." Its jumps of scale, surprising juxtapositions of fragments of imagery, and vivid palette exemplify Rosenquist's singular contribution to Pop art in the United States. - Art Daily January 25, 2011




















Structuralism = philosophical approach that analyzes society by looking at cultural phenomena, particularly signs, that have hidden underlying meanings that can be decoded
"Blam" source material
The Cuban Missle Crisis
Roy Lichtenstein, Blam, 1962.











Claes Oldenburg, Pie a la Mode, 1962.
Claes Oldenburg, Two Hamburgers with Everything (Dual Hamburgers), 1962. Burlap soaked in plaster painted with enamel, 17.8 x 37.5 x 21.8 cm.











"The erotic or the sexual is the root of art." - Claes Oldenburg
Oldenburg notebook page
Claes Oldenburg, Floor Cake, 1962.
4' 10" X 9' 6" X 4' 10".

Claes Oldenburg, Soft Dormeyer Mixer, 1965.

Claes Oldenburg, Notebook page: Dormeyer Mixer. 1965.











Claes Oldenburg in The Store
Claes Oldenburg with soft Ice Cream sculpture











West Coast Pop
a.k.a. California Funk movement
funk = bad smelling
California Funk movement defined by Berkeley University's Art Museum Director, Peter Selz as being "hot rather than cool, committed rather than disengaged, bizarre rather than formal, sensuous and frequently quite ugly."

Gold Marilyn


Andy Warhol, Gold Marilyn Monroe, 1962.
Ed and Nancy Kienholz, Birthday, 1964.











Bob Arneson, Typewriter, 1965.
Bob Arneson, Doggie Bob (Self Portrait), 1982.












Robert Arneson, George Muscone, 1981.












Installation art = art that uses sculptural materials and other media to modify a particular space. It is not necessarily confined to a gallery or museum space and often incorporates the viewer into the work.
Ed Kienholz, Roxy's, 1961.











Illegal Operation

Ed Kienholz, The Illegal Operation, 1962.











The State Hospital
The State Hospital
Ed and Nancy Kienholz, The State Hospital, 1966.











The State Hospital

Ed Kienholz, The State Hospital tableau, 1966.