Wolverhampton Art Gallery started to collect Pop Art in the 1960s and 70s under the directorship of David Rogers. Pop has continued to be a major part of the gallery’s collection development and programming strategy. Brendan Flynn, Monument Fellow, discusses the history of the collection and the controversy which surrounded it at the time.
Wolverhampton Art Gallery started to collect Pop Art in the 1960s and 70s under the directorship of David Rogers. Pop has continued to be a major part of the gallery’s collection development and programming strategy. Marguerite Nugent presents some recent exhibitions and shares Wolverhampton’s ideas for future projects and partnerships.
A personal talk about how Marco came to research Pop Art and British Pop in particular, and the exhibitions and publications for which he has been responsible. Followed by proposals for specific areas that could still provide a rich seam for research or for exhibitions.
Whilst Pop Art is widely associated with a celebration of modern consumer culture, individual British Pop artists engaged in a critique of modern culture in the Cold War era. In this paper Simon Martin considers how events such as the Cuban Missile Crisis in 1962 led artists such as Derek Boshier, Colin Self and Eduardo Paolozzi to explore to heightened concerns about the threat of nuclear annihilation. These British-based artists are considered in relation to the response of American artists such as Warhol, Lichtenstein and Rosenquist to the atom bomb.
A more comprehensive historiographic view onto English Pop could pay dividends. Exclusive - painting only - have often been the norm, although writers such as Alex Seago have aimed at more inclusive accounts. David Mellor suggests that further excavations of the social and cultural histories of the 50s - which might deal with the larger environment of graphics, popular magazines and television, are worth exploring.