A lively and accessible introduction to the life and work of Robert Rauschenberg (1925-2008), one of the most inventive and influential artists of the post-war period. An important influence on Pop artists in the 1960s, Rauschenberg worked across a variety of media - painting, drawing, photography, sculpture, silkscreen, lithography, and performance - and actively collaborated with musicians, choreographers and dancers, and with engineers and scientists to pursue the potentials offered by new technologies. Part of the Tate Introduction series, this book offers a concise and engaging account of Rauschenberg's life, his art, and the ongoing debates concerning his significance.

Examining and illustrating the art scene surrounding the birth of modernism and its simultaneous rise among the burgeoning working class Mod scene of the Sixties, Paul Anderson's Mod Art is the definitive work on the visual culture of Mod. With interviews from key artists, scene members and a rich understanding of the how the collision of high art and mass culture formed, Mod Art will appeal to fans of history, music, fashion and art. Gorgeously illustrated with a treasure trove of hundreds of colour photographs of famous, rediscovered and rare images from the era Mod, Art will be read and re-read for years to come. Paul Anderson's previous book, Mods: The New Religion, has sold over nine thousand copies since publication.

When it emerged in the 1950s, the Pop Art movement presented a challenge to fine art with its incorporation of images from television, newspapers, and advertising. Artists used humor, provocation, and garish gestures to help dissolve the barriers between high and low culture. Over time, Pop Art developed into one of the most influential movements of the 20th century and many of its works have achieved iconic status. This introduction to Pop Art focuses on fifty of the movement's most important works, and covers every major artist of the style, including David Hockney, Robert Indiana, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, Robert Indiana, Claes Oldenburg, Ed Ruscha and Andy Warhol. Each work is featured on a beautifully illustrated double-page spread. An informative text highlights the work's classic characteristics as well as unusual aspects, its significance in the Pop Art movement and its influence on the history of contemporary art, and art in general. Including brief biographies of each artist, this book is a beautifully illustrated survey of Pop Art.

The autobiography of an American icon 'I never think that people die. They just go to department stores' Andy Warhol - American painter, filmmaker, publisher, actor and major figure in the Pop Art movement - was in many ways a reluctant celebrity. Here, in his autobiography, he spills his secrets and muses about love, sex, food, beauty, fame, work, money, success, New York and America and its place in the world. But it is his reflections on himself, his childhood in McKeesport, Pennsylvania, the explosion of his career in the Sixties and his life among celebrities - from working with Elizabeth Taylor to partying with the Rolling Stones - that give a true insight into the mind of one of the most iconic figures in twentieth-century culture. Andy Warhol (1928-1987), was an American painter, filmmaker, publisher, actor, and a major figure in the Pop Art movement. He also produced a significant body of film work, including the famous Chelsea Girls; characterised the epoch with the now-famous expression 'fifteen minutes of fame'; produced the first album by The Velvet Underground; and was nearly killed just two days before the assassination of JFK. If you enjoyed The Philosophy of Andy Warhol, you might like 100 Artists' Manifestos, also available in Penguin Modern Classics. 'Acute. Accurate. Mr Warhol's usual amazing candor. A constant entertainment and enlightenment' Truman Capote

A fresh and engaging look at the controversial work of Jeff Koons, with insightful analyses and illustrations of all of his iconic pieces alongside preparatory works and historical photographs Examining the breadth and depth of thirty-five years of work by Jeff Koons (b. 1955), one of the most influential and controversial artists of the 20th century, this highly anticipated volume features all of his most famous pieces. In an engaging overview essay, Scott Rothkopf carefully examines the evolution of Koons' work and his development over the past thirty-five years, offering a fresh scholarly perspective on the artist's multi-faceted career. In addition, short essays by a wide range of interdisciplinary contributors-from academics to novelists-probe provocative topics such as celebrity and media, markets and money, and technology and fabrication. Also included are preparatory sketches and plans for sculptures and paintings as well as installation photographs that shed light on Koons' artistic process and trace the development of his work throughout his landmark career. Koons has risen to international fame making art that reimagines and recontextualizes images and objects from popular culture such as vacuum cleaners, basketballs, and balloon animals. Created with painstaking attention to detail by a team of fabricators, these objects raise questions about taste and popular culture, and position Koons as one of the most lauded and criticized artists working today. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art (06/27/14-10/19/14) Centre Pompidou (11/26/14-04/27/15) Guggenheim Museum, Bilbao (06/05/15-09/27/15)

Pop artist Peter Blake has an eye for the quirky and the overlooked. Best known for the pivotal role he played in the development of British Pop Art, most famously the design of the "Beatles"' "Sgt. Pepper's Lonely Hearts Club Band" album sleeve, Blake has never stopped working and exhibiting and successive generations of British artists have cited him as an influence. As well as being known as a painter, Blake is renowned for his works on paper and as a leading exponent of collage. He has designed sleeves for albums by generations of recording artists, from "The Who" to Paul Weller and "Oasis". This charming "ABC" is composed from the extensive collection of objects and ephemera he has gathered in his studio during his long career. "Peter Blake's ABC" displays the strong graphic sensibility and the love of popular culture for which the artist has long been renowned. This charming and collectible book will delight young and old alike.

Pop Art and the Contest over American Culture examines the socially and aesthetically subversive character of pop art. Providing a historically contextualized reading of American pop art, Sara Doris locates the movement within the larger framework of the social, cultural and political transformations of the 1960s. She demonstrates how pop art's use of discredited mass-cultural imagery worked to challenge established social and cultural hierarchies. At the same time, its affinities with marginalized forms of taste - gay Camp and youth culture - allied it with the proto-political changes foreshadowing the radical politics that emerged late in the decade. Pop art's subversive critique of consumer culture also served as a crucial precedent for postmodernist practices. By analyzing pop art within the context of the broader social upheavals of the 1960s, this study establishes that it was both a significant participant in those transformations and that it profoundly shaped today's postmodern culture.

Written with the assistance, for the first time, of all of those involved, including Bryan Ferry, Brian Eno, Andy Mackay and Phil Manzanera; the fashion designer Antony Price, the founding guru of pop art, and Bryan Ferry's tutor, Richard Hamilton, and many more, Roxy is also the account of how pop art, the avant garde underground of the 1960s, and the heady slipstream of London in the sixties was transformed into the fashion cults of revivalism, nostalgia and pop futurism in the early 1970s.

A panoramic look at art in America in the second half of the twentieth century, through the eyes of the visionary curator who helped shape it. An innovative, iconoclastic curator of contemporary art, Walter Hopps founded his first gallery in L.A. at the age of twenty-one. At twenty-four, he opened the Ferus Gallery with then-unknown artist Edward Kienholz, where he turned the spotlight on a new generation of West Coast artists. Ferus was also the first gallery ever to show Andy Warhol's Campbell's Soup Cans and was shut down by the L.A. vice squad for a show of Wallace Berman's edgy art. At the Pasadena Art Museum in the sixties, Hopps mounted the first museum retrospectives of Marcel Duchamp and Joseph Cornell and the first museum exhibition of Pop Art--before it was even known as Pop Art. In 1967, when Hopps became the director of Washington's Corcoran Gallery of Art at age thirty-four, the New York Times hailed him as "the most gifted museum man on the West Coast (and, in the field of contemporary art, possibly in the nation)." He was also arguably the most unpredictable, an eccentric genius who was chronically late. (His staff at the Corcoran had a button made that said WALTER HOPPS WILL BE HERE IN TWENTY MINUTES.) Erratic in his work habits, he was never erratic in his commitment to art. Hopps died in 2005, after decades at the Menil Collection of art in Houston for which he was the founding director. A few years before that, he began work on this book. With an introduction by legendary Pop artist Ed Ruscha, The Dream Colony is a vivid, personal, surprising, irreverent, and enlightening account of his life and of some of the greatest artistic minds of the twentieth century.

Pop Art and the Contest over American Culture examines the socially and aesthetically subversive character of pop art. Providing a historically contextualized reading of American pop art, Sara Doris locates the movement within the larger framework of the social, cultural and political transformations of the 1960s. She demonstrates how pop art's use of discredited mass-cultural imagery worked to challenge established social and cultural hierarchies. At the same time, its affinities with marginalized forms of taste - gay Camp and youth culture - allied it with the proto-political changes foreshadowing the radical politics that emerged late in the decade. Pop art's subversive critique of consumer culture also served as a crucial precedent for postmodernist practices. By analyzing pop art within the context of the broader social upheavals of the 1960s, this study establishes that it was both a significant participant in those transformations and that it profoundly shaped today's postmodern culture.

Who branded painting in the Pop age more brazenly than Richard Hamilton, Roy Lichtenstein, Andy Warhol, Gerhard Richter, and Ed Ruscha? And who probed the Pop revolution in image and identity more intensely than they? In "The First Pop Age," leading critic and historian Hal Foster presents an exciting new interpretation of Pop art through the work of these Pop Five.

Beautifully illustrated in color throughout, the book reveals how these seminal artists hold on to old forms of art while drawing on new subjects of media; how they strike an ambiguous attitude toward both high art and mass culture; and how they suggest that a heightened confusion between images and people is definitive of Pop culture at large.

As "The First Pop Age" looks back to the early years of Pop art, it also raises important questions about the present: What has changed in the look of screened and scanned images today? Is our media environment qualitatively different from that described by Warhol and company? Have we moved beyond the Pop age, or do we live in its aftermath?

A masterful account of one of the most important periods of twentieth-century art, this is a book that also sheds new light on our complex relationship to images today.

This sixth volume of Edward Ruscha: Catalogue Raisonne of the Paintings documents the 227 paintings, and studies for paintings, made between 1998 and 2003. Though a number of these works refer in some degree to Ruscha's output of the past two decades, the period inaugurates two major series--the "Metro Plots," which diagram streets in Los Angeles and American cities, and the celebrated "Mountain" paintings. A third series, loosely grouped, takes books as its subject. This period is also notable for the appearance of the first of the "Course of Empire" paintings, with which the artist would represent the United States at the 51st Venice Biennale in 2005. As in previous volumes, included are numerous documentary photographs, a selection of Ruscha's sketchbook pages, and complete bibliographic references and exhibition histories."

In the early sixties at the Royal College of Art in London, three extraordinary personalities collided to reshape contemporary art and literature. Barrie Bates (who would become Billy Apple in November 1962) was an ambitious young graphic designer from New Zealand, who transformed himself into one of pop art's pioneers. At the same time, his friend and fellow student David Hockney - young, Northern and openly gay - was making his own waves in the London art world. Bates and Hockney travelled together, bleached their hair together, and, despite being two of London's rising art stars, almost failed art school together. And in the middle of it all was the secretary of the Royal College's Painting School - an aspiring young novelist called Ann Quin. Quin ghost-wrote her lover Bates's dissertation and collaborated with him on a manifesto, all the while writing Berg: the experimental novel that would establish her as one of the British literary scene's most exciting new voices. Taking us back to London's art scene in the late fifties and early sixties, award-winning writer Anthony Byrt illuminates a key moment in cultural history and tackles big questions: Where did Pop and conceptual art come from? How did these three remarkable young outsiders change British culture? And what was the relationship between revolutions in personal and sexual identities and these major shifts in contemporary art? From the Royal College to Coney Island and Madison Avenue, encountering R. D. Laing and Norman Mailer, Shirley Clarke and Larry Rivers, The Mirror Steamed Over is a remarkable journey through a pivotal moment in contemporary culture.

What is steampunk and why are people across the globe eagerly embracing its neo-Victorian aesthetic? Old-fashioned eye goggles, lace corsets, leather vests, brass gears and gadgets, mechanical clocks, the look appears across popular culture, in movies, art, fashion, and literature. But steampunk is both an aesthetic program and a way-of-life and its underlying philosophy is the key to its broad appeal. Steampunk champions a new autonomy for the individual caught up in today’s technology-driven society. It expresses optimism for the future but it also delivers a note of caution about our human role in a world of ever more ubiquitous and powerful machines. Thus, despite adopting an aesthetic and lifestyle straight out of the Victorian scientific romance, steampunk addresses significant 21st-century concerns about what lies ahead for humankind. The movement recovers autonomy from prevailing trends even as it challenges us to ask what it is to be human today.

A full career retrospective of one of the greatest and most popular living artists, lavishly illustrated with works from across the artist's six-decade career David Hockney has been delighting and challenging audiences for almost sixty years. Working in an extraordinarily wide range of media with equal measures of wit and intelligence, his art has examined, probed and questioned how the perceived world of movement, space and time can be captured in two dimensions. This lavishly illustrated publication reasserts Hockney as a serious thinker and a highly innovative artist constantly challenging the conventions of artistic expression, without losing the characteristic verve, humour and colour of the work. Showcasing over 200 works (including painting, drawings, photographs, watercolours, iPad drawings, and his most recent multi-screen works) from across the six decades of his remarkable career, the book will delight existing fans of the artist, while giving new audiences the fullest possible introduction to his life and work.

The renowned artist Ed Ruscha was born in Nebraska, grew up in Oklahoma, and has lived and worked in Southern California since the late 1950s. Beginning in 1956, road trips across the American Southwest furnished a conceptual trove of themes and motifs that he mined throughout his career. The everyday landscapes of the West, especially as experienced from the automobile - gas stations, billboards, building facades, parking lots, and long stretches of roadway - are the primary motifs of his often deadpan and instantly recognizable paintings and works on paper, as well as his influential artist books such as Twentysix Gasoline Stations and All the Buildings on the Sunset Strip. His iconic word images - declaring Adios, Rodeo, Wheels over Indian Trails, and Honey...Twisted through More Damn Traffic to Get Here - further underscore a contemporary Western sensibility. Ruscha's interest in what the real West has become - and Hollywood's version of it - plays out across his oeuvre. The cinematic sources of his subject matter can be seen in his silhouette pictures, which often appear to be grainy stills from old Hollywood movies. They feature images of the contemporary West, such as parking lots and swimming pools, but also of its historical past: covered wagons, buffalo, teepees, and howling coyotes. Featuring essays by Karin Breuer and D. J. Waldie, and a fascinating interview with the artist conducted by Kerry Brougher, this stunning catalogue, produced in close collaboration with the Ruscha studio, offers the first full exploration of the painter's lifelong fascination with the romantic concept and modern reality of the evolving American West. Published in association with the Fine Arts Museums of San Francisco Exhibition dates: de Young, San Francisco: July 16-October 9, 2016.

'Ours is music with built-in hatred.' - Pete Townshend A Band with Built-In Hate pictures The Who from their inception as the Detours in the mid-sixties to the late seventies, post-Quadrophenia. It is a story of ambition and anger, glamour and grime, viewed through the prism of pop art and the radical levelling of high and low culture that it brought about - a drama that was aggressively performed by the band. Peter Stanfield lays down a path through the British pop revolution, its attitude and style, as it was uniquely embodied by The Who: first, under the mentorship of arch-mod Peter Meaden, as they learnt their trade in the pubs and halls of suburban London; and then with Kit Lambert and Chris Stamp, two aspiring filmmakers, at the very centre of things in Soho. Guided by contemporary commentators - among them George Melly, Lawrence Alloway and most conspicuously Nik Cohn - Stanfield describes a band driven by belligerence, and of what happened when Townshend, Daltrey, Moon and Entwistle moved from back-room stages to international arenas, from explosive 45s to expansive concept albums. Above all, he tells of how The Who confronted their lost youth as it was echoed in punk.

'ON and BY Andy Warhol' is an epic achievement. Gilda Williams has collected what seems like every word ever written about or uttered by the most influential artist of our time to produce a verbal collage portrait that is bold, revealing, multi-dimensional and original. If Andy were alive, he would probably say, "Oh, wow. Why didn't I think of that?" -- Bob Colacello, special correspondent, Vanity Fair. Author of Holy Terror: Andy Warhol Close Up and former Editor, Interview magazine. The impact of Andy Warhol on contemporary culture is incalculable. A pioneer in virtually every media in which he worked, Warhol also had a lesser-known hand in such contemporary staples as reality TV, computer art, and the rock-gig light show. In the wake of dedicated Twitter feeds today that easily adapt his short epithets or 'Warholisms' into 140-character snippets, Andy Warhol's cultural relevance seems only to grow in the 21st century.Edited and introduced by art critic Gilda Williams, ON&BY Andy Warhol brings together generations of notable writers who have examined the influence and legacy of Warhol's life and work: art critics including Douglas Crimp, Thomas Crow, Dave Hickey, Hal Foster and Lucy Lippard; artists Art & Language and Donald Judd; philosophers and cultural theorists including Arthur C. Danto, Fredric Jameson and Eve Kosofsky Sedgwick; and, more recently, novelists such as Saul Anton.Alongside accounts from Factory associates Bob Colacello and Mary Woronov, and recent revelations from Warhol Museum senior archivist Matt Wrbican, are critical assessments by Callie Angell, Rainer Crone, Anthony Huberman, Stephen Koch, Wayne Koestenbaum and Simon Watney amongst others; and further writings by Warhol (and his collaborators) such as THE Philosophy of Andy Warhol (From A to B and Back Again), Blue Movie, POPism, America, Andy Warhol's Party Book and The Andy Warhol Diaries, as well as interviews with Gretchen Berg and Alfred Hitchcock.

Perhaps best known for his iconic paintings and sculptures of LOVE, also featured on a U.S. postage stamp, and HOPE, created in support of Barack Obama's 2008 presidential campaign, Robert Indiana (b. 1928) has been living and working in Maine since 1978. The Star of Hope, his year-round home and studio on the island of Vinalhaven, is a former late 19th-century Odd Fellows lodge listed on the National Register of Historic Places. Robert Indiana and the Star of Hope is both a retrospective of the artist's work based on his own holdings, and an unprecedented study of his living and working space. His studio is a home, museum, archive, and gallery, all set within the historic interiors of the former Odd Fellows lodge. This book offers a unique examination of how Indiana's work has unfolded since his move to Vinalhaven and includes works from his student days to storied sculptures such as EAT, prematurely removed from the 1964 New York World's Fair and not exhibited since. Distributed for the Farnsworth Art Museum Exhibition Schedule: Farnsworth Art Museum, Rockland, Maine (6/20/09 - 10/25/09)

XX"I was 74 in June," wrote a reflective Jim Dine in Goettingen, Germany, in August 2009. "These self-portrait drawings are about how many times I've regarded my face minutely and have corrected and erased to get the feeling I want to show most accurately. I now am able, after all this looking, to enlarge my head to become a field of form and chatter and for it to be compared to a vast forest or a limestone quarry, for instance. Finally, lying is not an option, nor is decoration. I am committed to setting the record straight. Don't worry, I will." Embracing the artistic possibilities of this station in his life, Dine here breaks into new terrain with these works.

Ashley Longshore delivers exactly what her fans are clamoring for: a look at Ashley s big life, her audacious aphorisms, and of course her sumptuous, glittering art in sublime detail. Ashley Longshore s pop-art paintings are always daring; her art makes noise. On any given day, you may catch her in her New Orleans gallery painting with Blake Lively, talking art and fashion with Dapper Dan in New York, or on a remote island in Hawaii painting. A prolific artist, she has been compared to Andy Warhol for her passion with pop-culture figures; but it s her infectious personality and humorous real talk that has captured the hearts of and inspired her devoted fans. Ashley s story also peeks at her major blingy collaborations with brands such as Rolex; luxury cosmetics brand Cle de Peau; Veuve Clicquot; Chloe; Mark Cross; and Judith Leiber, to name only a few. Ashley Longshore: I Do Not Cook, I Do Not Clean, I Do Not Fly Commercial tells the stories of the self-proclaimed urban hippie in glorious color and detail and features her works, collaborations, and her singular and authentic personality.