The advent of Pop Art came about in areas of Europe in the 1950s. This classification was a nascent theme by and for several emerging artists, much like how art movements start, with a sense of renewal and innovative art styles. Pop Art culture essentially includes the concept and contrast of pop culture contained in other storytelling mediums, hints at cinematic and literary excellence, but more so, commercially viable alternates, and embraces new modern perspectives of talking about the world and beyond.
Among the youth of the time, the post-World War II generation, the art style burst like a rebellious yet graceful alternative notion responding to the visual medium of art and expression. As a way of inventing self-belief after the gruesome times that they had seen, artists needed a store of energy, a way of feeling like themselves again, breathing in their own bodies, and moving with the wind of their own making. Pop Arts made eminent the idea of the celebration of life, and making it more liveable and beautiful every day.
Some examples of the movement are, Richard Hamilton’s Just What Is It that Makes Today's Home So Different and So Appealing, Jasper Johns' Beer Cans, Robert Rauschenberg's Bed, and MM: A Critique of Mass Iconology by James Gill, Soup Cans by Andy Warhol.
Pop Art completed the Modernist movement with its optimism, speculation in contemporary subjects, and thematic alternatives, as well as a reflection on matter. It works, even today, as a production of satirical versions of art, parodies of pop culture, mirrors to futile ideas, and sardonic departures from their art into a new system of gauging consequences. Be it the environment or politics, governmental plans or art installations, commentaries themselves, or posters of films, pop art reflected on it all, at least, all that was interesting enough to make art on. There are several techniques of recognising characteristics that art critics use to define pop art pieces, being imagery drawn from popular media, bright colours and ombre effects, comic book-like adventures and stories, the inclusion of celebrated figures or fictional characters, advertisements, fan fiction, or sculptures.
From around the world, throughout history, we have found specimens of annotations in the form of art, by legends as well as incipient art creators. From shadow boxes in three-dimensional effects, sand art that stays on water for up to twenty-four hours, sculptures inspired by cartoons and anime, to regional art, surreal and dream-like versions of candy, and fashion labels. The effect of this form of art, no matter how much it bundled to reach prominence, holds a profound and brave dawn in the art world.
Gavalav, Heads, 2020, Acrylic
Within Easel Stories, the gallery holds up great illustrations, pop art paintings, and sculptures that speak of literary merits, fashion icons, and cinematic fervour, and brings unique techniques like woodwork, pen and ink, pop colours, mixed media art, wires and soda cans, glitter, and textiles into the limelight. Art, as a scheme of love, charisma, beauty, freedom, and feel-good escapades, deserves to have as a part of it, fun motifs and comedic art that interacts with other formats of storytelling as well as traditional extravaganza, and sombre works. Amidst the hierarchies of artists, styles, and art pieces, there exists a vacuum waiting to be found, and maybe, when art recognises its own bravery and importance in the pop art medium, we can find it. More importantly, we can understand the sheer brilliance it reflects, hanging on the walls, placed as centrepieces, and held in rooms as an exhibit of personality, much like the hearts, especially in contemporary times when pop art is seen as a serious art style, without being oh-so-serious.
Jo, Identities, 2017, Mixed Media