Pop (Themes ＆Movements)流行音乐（主题与运动） word 电子书 免费 下载地址

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From the late 1950s to the late 1960s the word Pop described art, film, photography and architectural design which engaged with the new realities of mass production and the mass media. Unlike books which present Pop art in isolation, this is a comprehensive survey of Pop in all of its forms across America, Britain and Europe.

In addition to the key artworks by Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Ed Ruscha, Richard Hamilton, Sigmar Polke, Martial Raysse and many others the book includes works of photography and avant-garde film, as well as what the critic Reyner Banham defined as Pop architecture, ranging from Alison and Peter Smithson’s House of the Future to Archigram’s Walking City and Robert Venturi and Denise Scott Brown’s Learning from Las Vegas.

Editor Mark Francis was former Founding Director of the Andy Warhol Museum and editor of ‘Les Années Pop’ (Centre Georges Pompidou, 2001). Survey author Hal Foster is Professor of Art at Princeton University, author of The Return of the Real and editor of the bestselling The Anti-Aesthetic: Essays on Postmodern Culture and Recodings: Art, Spectacle, Cultural Politics.

About the Author

Mark Francis is a London-based curator and writer. A director of Gagosian Gallery, he was formerly Chief Curator of the Andy Warhol Museum, Pittsburgh, and its Founding Director. He has been the curator of major exhibitions at the Carnegie Museum of Art, Pittsburgh, Whitney Museum of American Art, New York, Kunstpalast Dusseldorf, and the Centre Georges Pompidou, Paris, where in 2001 he edited the catalogue for 'Les Annees Pop'. He is the author of numerous essays and catalogues on artists including Richard Hamilton, Dan Graham, Douglas Gordon, Andy Warhol, and the Situationist International. Hal Foster is Townsend Martin Professor of Art and Archaeology at Princeton University. A Founding Editor of the journal October, he is the author of Compulsive Beauty, The Return of the Real and Prosthetic Gods (MIT Press, 1993; 1996; 2004) and editor of The Anti-Aesthetic: Essays on Postmodern Culture and Recodings: Art, Spectacle, Cultural Politics (Bay Press, 1983; 1985; reissued by The New Press). A former Senior Editor of Art in America, he has contributed to numerous periodicals including Zone magazine, Diacritics, Documents and Artforum. Editor's Residence: London Survey Author's Residence: Princeton, New Jersey

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Product De*ion

From the late 1950s to the late 1960s the word Pop described art, film, photography and architectural design which engaged with the new realities of mass production and the mass media. Unlike books which present Pop art in isolation, this is a comprehensive survey of Pop in all of its forms across America, Britain and Europe.

In addition to the key artworks by Andy Warhol, Roy Lichtenstein, Claes Oldenburg, Ed Ruscha, Richard Hamilton, Sigmar Polke, Martial Raysse and many others the book includes works of photography and avant-garde film, as well as what the critic Reyner Banham defined as Pop architecture, ranging from Alison and Peter Smithson’s House of the Future to Archigram’s Walking City and Robert Venturi and Denise Scott Brown’s Learning from Las Vegas.

Editor Mark Francis was former Founding Director of the Andy Warhol Museum and editor of ‘Les Années Pop’ (Centre Georges Pompidou, 2001). Survey author Hal Foster is Professor of Art at Princeton University, author of The Return of the Real and editor of the bestselling The Anti-Aesthetic: Essays on Postmodern Culture and Recodings: Art, Spectacle, Cultural Politics.

About the Author

Mark Francis is a London-based curator and writer. A director of Gagosian Gallery, he was formerly Chief Curator of the Andy Warhol Museum, Pittsburgh, and its Founding Director. He has been the curator of major exhibitions at the Carnegie Museum of Art, Pittsburgh, Whitney Museum of American Art, New York, Kunstpalast Dusseldorf, and the Centre Georges Pompidou, Paris, where in 2001 he edited the catalogue for 'Les Annees Pop'. He is the author of numerous essays and catalogues on artists including Richard Hamilton, Dan Graham, Douglas Gordon, Andy Warhol, and the Situationist International. Hal Foster is Townsend Martin Professor of Art and Archaeology at Princeton University. A Founding Editor of the journal October, he is the author of Compulsive Beauty, The Return of the Real and Prosthetic Gods (MIT Press, 1993; 1996; 2004) and editor of The Anti-Aesthetic: Essays on Postmodern Culture and Recodings: Art, Spectacle, Cultural Politics (Bay Press, 1983; 1985; reissued by The New Press). A former Senior Editor of Art in America, he has contributed to numerous periodicals including Zone magazine, Diacritics, Documents and Artforum. Editor's Residence: London Survey Author's Residence: Princeton, New Jersey

书籍介绍

Edited by an internationally recognized expert on Pop art and culture, this book surveys Pop across all artforms and gives equal coverage to its American, British and European manifestations. Survey: Renowned scholar and critic Hal Foster contributes the survey essay which focuses on the Pop image as it developed over the period: Reyner Banham, The Independent Group and Pop Design; Richard Hamilton and the Tabular Image; Roy Lichtenstein and the Screened Image; Andy Warhol and the Seamy Image; Gerhard Richter and the Photogenic Image; Ed Ruscha and the Cineramic Image; Robert Venturi, Denise Scott Brown and the Postmodern Absorption of Pop. Works (each image accompanied by an extended caption): Section 1: Revolt into Style (1956-60) surveys the birth of Pop culture and its images, including the Beat generation photographs of Robert Frank and William Klein; Kenneth Anger's early films; futuristic architecture by Disneyland's 'imagineers'; artworks by Jasper Johns and Robert Rauschenberg, the French Nouveaux realistes, Richard Hamilton and the 'British Pop' of the Independent Group. Section 2: Consumer Culture (1960-63) follows American Pop's explosion, from Roy Lichtenstein's cartoon-based paintings to Andy Warhol's Factory, the hamburger, cake and ice cream sculptures of Claes Oldenburg, and Robert Indiana's Eat/Die. Section 3: Colonization of the Mind (1963-66) chronicles the era of 'high' Pop when it became a dominant international style in art, design, architecture and cinema. Section 4: Spectacular Time (1966-67) looks at the more self-reflexive work in art, film and architecture that coincided with the publication of Marshall McLuhan's The Medium is the Message and Guy Debord's Society of the Spectacle. Section 5: Helter Skelter (1968) traces Pop's meltdown in the late 1960s: the emergence of the vernacular in architecture, with Robert Venturi and Denise Scott Brown's Learning from Las Vegas; the spiralling mayhem of films such as Donald Cammell and Nicholas Roeg's Performance, starring Mick Jagger, and the final destructive crescendo of Michelangelo Antonioni's Zabriskie Point, as an exploding house and its contents are synched to a soundtrack by Pink Floyd. Documents. A compendium of original artists' statements and interviews, often from hard-to-find, out of print sources; key writings by critics such as Reyner Banham, Donald Judd and Jonas Mekas; extracts from key contextual writings, from Jack Kerouac to articles on Pop culture.

• 作者： 白马行过天亮 发布时间：2021-04-06 23:09:24

  之前图书馆新书架子上看到的，就借来一读。除了写美食的部分，其他一些随笔也特别有感觉，朴素简单的文字中透着对生活的爱，如汪老所说“生活是很好玩的”。中间的游记部分不喜，大概是没有如果这些地方吧。

• 作者： Bonbon和猫 发布时间：2019-09-07 21:32:52

  很全面很细致，看完很想再买套房子重新装修一遍，然而我没钱

• 作者： 霖柒 发布时间：2022-11-28 10:30:51

  有些注释不靠谱昂

• 作者： Hoursy 发布时间：2024-04-06 00:03:05

  研究Eugene O’Neill不可错过的传记，比Frederic那本精彩和详细太多了～ 太太太震撼了！传奇人生，像在看小报的追踪报道。觉得惊愕有趣之余又在感慨，让人尤金一生却都在饱受原生家庭之苦。传记作家似乎将尤金的对女性的刻板印象（female destroyer）、婚姻爱情的失败（回避性依恋）等全都归因到了其“金玉其外 败絮其中”的原生家庭。O’Neill一家真是把self- dramatization传承到底了… 以及，人要快乐乐观地活着，还是少喝酒，少看尼采～ 想要摆脱原生家庭，却又不得不求助原生家庭，大概是尤金人生困境的来源。 When I was writing, I was alive. 感谢写作！

• 作者： Little Icarus 发布时间：2019-03-27 07:43:28

  五星推荐！科辛斯基Steps也值得出。

• 作者： Javen 发布时间：2019-02-16 18:02:14

  全书主要从1956年叙述到有变革意味的1968（所谓classic period of pop），但用凯鲁亚克的《On the Road》开书，也是奇。但全书的文化纵览野心十足，不仅有欧美的波普（实际不限于波普）的大佬们，还时常跳出戈达尔大爷为代表的电影啊，以及音乐——这种艺术史观确实有趣，也算有证据可寻（如以劳申伯格创作为例），但本书是图画书，不是艺术史著作，若真的这么写书，太难。不过，Hal Foster的Pop概述则是中规中矩的艺术史文章。章节划分大致遵循了一个历史过渡，多少算是欧洲缘起、美国光大、而欧洲再反之批判审思的欧美中心主义视角（也确实是人家的事情）。波普艺术，离不了的是mass media，时代角度自然有战后繁华之因，社会娱乐奇观，躲也躲不掉。冷战，则是另一码事了。

• 《浮士德》里的魔 （冯至）

  作者：焚香听琴 发布时间：2013-05-30 23:55:40

• 《文化苦旅》

  作者：荷包蛋 发布时间：2022-03-05 20:46:53

  不是书评，只是看完特别有感触想记录一下，短评放不下就放这里吧。

  《黄州突围》是让我共情最多的一节。以前只知道苏轼被贬，后来写下《赤壁赋》等名作，却不知道他是因为才华外露遭人构陷。一开始很佩服余秋雨能把苏轼的心境写得像本尊在述说，直到后面看到“天人对话”那部分他回应自己的舆论风波，才get到为什么他会这么“懂”。很多人说“天人对话”那部分是在给自己辩解，太过小家子气。余秋雨的真实人品如何我不知道，但文人自有风骨，自觉蒙冤愤懑抗议又有何不可？这两人的遭遇，还有巴金被同行的攻击，都让我难过。这样龌蹉的事竟然从古至今都有，甚至还在得逞。看到别人优秀不去反思学习，反而费尽心思把对方拉下来。没有严厉的制度惩治造谣诽谤之人，七嘴八舌就会形成一种舆论，轻易毁掉一个好人。

  《风雨天一阁》，藏书的意义应是让它广为流播，而不是“藏”本身。不准登楼，不准看书，范氏家族几代人像苦行僧一样守护着这座藏书楼，也是挺让人唏嘘。这一节最后一段挺有意思的，说范钦给了我们一种启发，一生都在忙碌的所谓公务和事业，很可能不是你对这个世界最主要的贡献，请密切留意你自己也觉得是不务正业却又很感兴趣的那些小事。所以，嗯，热爱你的热爱。

  “世界之旅”，印象最深的是说大部分的跨国远征，对他国文明的清洗和抹灭，埋下了极端主义的种子。