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This book offers an innovative and interdisciplinary approach to
Pop art scholarship through a recuperation of popular music into
art historical understandings of the movement. Jukebox modernism is
a procedure by which Pop artists used popular music within their
works to disrupt decorous modernism during the sixties. Artists,
including Peter Blake, Pauline Boty, James Rosenquist, and Andy
Warhol, respond to popular music for reasons such as its emotional
connectivity, issues of fandom and identity, and the pleasures and
problems of looking and listening to an artwork. When we both look
at and listen to Pop art, essential aspects of Pop's history that
have been neglected-its sounds, its women, its queerness, and its
black subjects-come into focus.
This book offers an innovative and interdisciplinary approach to
Pop art scholarship through a recuperation of popular music into
art historical understandings of the movement. Jukebox modernism is
a procedure by which Pop artists used popular music within their
works to disrupt decorous modernism during the sixties. Artists,
including Peter Blake, Pauline Boty, James Rosenquist, and Andy
Warhol, respond to popular music for reasons such as its emotional
connectivity, issues of fandom and identity, and the pleasures and
problems of looking and listening to an artwork. When we both look
at and listen to Pop art, essential aspects of Pop's history that
have been neglected-its sounds, its women, its queerness, and its
black subjects-come into focus.
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