Pop Art

MoMA's history with pop art and its conceptual roots extends to its early origins, and its collection of works includes iconic works like Warhol's "Campbell's Soup Cans" and Lichtenstein's "Drowning Girl."

Pop art emerged in the mid-1950s in Britain and the late 1950s in America. American pop art focused on representational art and was directly inspired by living within American popular culture, using hard edges and distinct forms. Its British sibling, on the other hand, took a more academic approach, viewing American culture from a distance and employing irony and parody.

Richard Hamilton’s "Just what is it that makes today’s homes so different, so appealing?"—originally an illustration for a 1956 exhibition on modern living and collaborative art practices—would later become the nascent symbol of pop art.

British writer and curator Lawrence Alloway was an early champion of pop art—some claim he coined the term in 1958. He organized the 1963 “Six Painters and the Object” exhibition at the Guggenheim, featuring heavy hitters including Johns, Lichtenstein, and Warhol.

Pop art’s embrace of kitsch American pop culture furthered a centuries-long tradition of the visual arts during the second half of the 20th century. Its most famous exemplars, including Andy Warhol, were heirs to a vast tradition they sought to transcend and upend.

Andy Warhol wasn't just an artist—he was a cultural force. From his early days working as a New York illustrator to managing The Velvet Underground and creating experimental films, Warhol blurred the line between art and commerce, leaving a legacy that changed pop culture forever.

Ken's Mojo Dojo Casa House in Greta Gerwig's "Barbie" was inspired by Hamilton's jumbled vision of a home in "Just what is it that makes today's homes so different, so appealing?" Set designers cited the work as inspiring the mishmash of Americana imagery in the man cave.

American newspaper publisher Benjamin Henry Day Jr. developed the "benday" printing and photoengraving technique to produce grays and colors with fine patterns of ink of equal size and distribution. The process would become widespread in newspaper printing and define the work of Roy Lichtenstein.

Some of pop art’s most famous works toy with the push and pull between recognizable and hidden. ARTnews dissects seven well-known pieces by Jasper Johns—including works of American flags and maps—to explore the relationship between obvious iconography and invited analysis common to the genre.

Warhol’s silk-screen printing style—rough, noticeably imperfect, and painterly—was the result of a refined technique in service of a grainy tabloid aesthetic.