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Review: International Pop, edited by Darsie Alexander and Bartholomew Ryan

Review: International Pop, edited by Darsie Alexander and Bartholomew Ryan Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 BOOK REVIEW & MEDIA RECEIVED International Pop was critical of US policies and culture. Brazilian artist Anna Maria Edited by Darsie Alexander and Bartholomew Ryan Maiolino reflected that, upon coming to the US to escape the re- Walker Art Center, 2015 pressive conditions in her own country, “I felt very uncomfortable. 368 pp./$85.00 (hb) It was like living on crumbs from the rich man’s table, in a coun- try that was supporting the dictatorships in our continent” (63). Visitors to the Walker Art Printed on brown paper to simulate newsprint, the forty-eight- Center’s International Pop ex- page chronology is particularly useful in helping the viewer to hibition will recognize that it understand the curators’ broad selection of artworks and the com- is a massive display designed plexity of the global impact of Pop. to transform perceptions about In her introduction to the critical essays, Alexander describes Pop art. Downplayed are famil- Pop art as “transient, transferrable from one location to anoth- iar Andy Warhol soup cans and er, and accessible to a new class of viewers” (78). Dominated Roy Lichtenstein comic strips, in by an investigation into media and new ways of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage: The Journal of Media Arts and Cultural Criticism University of California Press

Review: International Pop, edited by Darsie Alexander and Bartholomew Ryan

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Publisher
University of California Press
Copyright
© 2015 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.
eISSN
2578-8531
DOI
10.1525/aft.2015.43.3.44
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 BOOK REVIEW & MEDIA RECEIVED International Pop was critical of US policies and culture. Brazilian artist Anna Maria Edited by Darsie Alexander and Bartholomew Ryan Maiolino reflected that, upon coming to the US to escape the re- Walker Art Center, 2015 pressive conditions in her own country, “I felt very uncomfortable. 368 pp./$85.00 (hb) It was like living on crumbs from the rich man’s table, in a coun- try that was supporting the dictatorships in our continent” (63). Visitors to the Walker Art Printed on brown paper to simulate newsprint, the forty-eight- Center’s International Pop ex- page chronology is particularly useful in helping the viewer to hibition will recognize that it understand the curators’ broad selection of artworks and the com- is a massive display designed plexity of the global impact of Pop. to transform perceptions about In her introduction to the critical essays, Alexander describes Pop art. Downplayed are famil- Pop art as “transient, transferrable from one location to anoth- iar Andy Warhol soup cans and er, and accessible to a new class of viewers” (78). Dominated Roy Lichtenstein comic strips, in by an investigation into media and new ways of

Journal

Afterimage: The Journal of Media Arts and Cultural Criticism – University of California Press

Published: Nov 1, 2015

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