Contrary to fashionable belief Pop Art actually started within the UK in the 1950's and not within the USA within the 1960's as most people assume. One phrase espoused by art historians that fairly describes the origins of recent pop art is that pop art was born in England and grew up in America . Now aged well over 50, the nice news is that Pop Art is very much alive and kicking and trying very sprightly for its age. In fact, in a lot of recent times there appears to have been one thing of a renaissance of young pop artists around the globe - once more finding its origins in the United Kingdom and, once once more, moving west to the USA .
Several little galleries, websites, eBay and even a lot of traditional d?cor retailers are now featuring a vary of reasonable pop art paintings. So what's thus new about this? Pop Art's been around for a very long time hasn't it? Is not it old school?
Some would argue that the recent and re-explosion of the retail trade within the sale of original Pop Art paintings is the post-modern realisation of Warhol's vision of the role of art within modern society. Warhol's work in democratising art production and possession were naturally hindered by the physical limitations of the amount of art he might personally produce. This inspired Warhol to line up his Art Factory (a studio production team mainly producing screen prints of Andy's original styles in the earlier years and a absolutely autonomous art machine in later years).
But, one may argue that Andy Warhol's achievements in canonising pop art, whilst after all outstanding for the work of simply one man, didn't totally realise the mandate of a pop/well-liked post-fashionable art type in that they were inextricably enmeshed with his temperament and artist-as-celebrity status. Industrialist art emancipates art from the modernist notion of the struggling artist working magic in his lonely garret and returns instead to an earlier model of the art studio collective producing art to order.
One may therefore adopt the assumption that this earlier pre-renaissance model of art production, instead of being outmoded, tallies a lot of with a post-modern realisation of the role art occupies in society and defies the now archaic modernist notion of the artist as impressed genius. That's why this author contends that we have a tendency to young new breed of Pop Artists have actually democratised art production and possession - claiming it back from the aficionados and beard-stroking critics who stole art from the folks from whom it finds its genesis.
Once was the time that each abode was adorned with original art from the first daubs on cave walls to the highly adorned homes of the Egyptians through to the intensely adorned artefacts of the Celts. Pop art in one sense has reduced art to the mundane (Warhol's Campbell Soup will being an obvious example) and nonetheless, simultaneously, elevated standard culture, media and celebrity itself to the lofty heights of art.
The most encouraging factor regarding this new-breed of pop artists is the manner it offers, finally, real art back to the individuals at a worth each working man or lady will afford - a value dictated by the labour concerned in its production solely and free from the worth hikes that galleries would build in order to preserve it for the very elite.
This is the explanation why this author strongly believes that Pop Art, rather than being an historical art movement, is of course the true future of art - its art for the folks, by the people. After all with the ever consistent growth of the importance of celebrity and well-liked culture you'll be able to definitely expect to determine pop art around for a while yet.
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