European and American Pop Art, 1955-1975

, University Teaching Gallery, Harvard Art Museums
  • Pop Art Redefined

    Pop Art Redefined

  • Fluxpost (Smiles)

    Fluxpost (Smiles)

  • Untitled

    Untitled

  • Mo Asleep

    Mo Asleep

  • Canto XXVI

    Canto XXVI

    Title on Portfolio Cover: Drawings for Dante's "Inferno". Each portfolio includes (as written on the last page of the essay): 35 facsimile drawings Essay by Dore Ashton 1 signed copy of 1 out of 7 lithographs created by Rauschenberg for this album (not included in this copy). Each print is mounted in a folder that corresponds to one of the 34 cantos. The artist and the author of the essay used John Ciardi's translation of the "Inferno". The original drawings were completed between 1959 and 1960. They entered MOMA's collection in 1963, where they remain.

  • Untitled

    Untitled

  • Canto XXXI

    Canto XXXI

    Title on Portfolio Cover: Drawings for Dante's "Inferno". Each portfolio includes (as written on the last page of the essay): 35 facsimile drawings Essay by Dore Ashton 1 signed copy of 1 out of 7 lithographs created by Rauschenberg for this album (not included in this copy). Each print is mounted in a folder that corresponds to one of the 34 cantos. The artist and the author of the essay used John Ciardi's translation of the "Inferno". The original drawings were completed between 1959 and 1960. They entered MOMA's collection in 1963, where they remain.

  • Train Station (Hanover)

    Train Station (Hanover)

  • Fluxus (Its Historical Development and Relationship to Avant-Garde Movements)

    Fluxus (Its Historical Development and Relationship to Avant-Garde Movements)

  • Marilyn Monroe

    Marilyn Monroe

  • XXXIV Drawings for Dante's Inferno

    XXXIV Drawings for Dante's Inferno

    Title on Portfolio Cover: Drawings for Dante's "Inferno". Each portfolio includes (as written on the last page of the essay): 35 facsimile drawings Essay by Dore Ashton 1 signed copy of 1 out of 7 lithographs created by Rauschenberg for this album (not included in this copy). Each print is mounted in a folder that corresponds to one of the 34 cantos. The artist and the author of the essay used John Ciardi's translation of the "Inferno". The original drawings were completed between 1959 and 1960. They entered MOMA's collection in 1963, where they remain.

  • Fluxpost (Members of the Eastern Synod)

    Fluxpost (Members of the Eastern Synod)

  • Venu$

    Venu$

  • Jacqueline Kennedy I (Jackie I)

    Jacqueline Kennedy I (Jackie I)

  • Target with Four Faces

    Target with Four Faces

  • Pop Art Redefined
  • Fluxpost (Smiles)
  • Untitled
  • Mo Asleep
  • Canto XXVI
  • Untitled
  • Canto XXXI
  • Train Station (Hanover)
  • Fluxus (Its Historical Development and Relationship to Avant-Garde Movements)
  • Marilyn Monroe
  • XXXIV Drawings for Dante's Inferno
  • Fluxpost (Members of the Eastern Synod)
  • Venu$
  • Jacqueline Kennedy I (Jackie I)
  • Target with Four Faces
University Teaching Gallery, Harvard Art Museums

This installation presents works by some of the central figures in the history of international pop art, from David Hockney in Great Britain and Gerhard Richter in Germany to Jasper Johns, Robert Rauschenberg, and Andy Warhol in New York. It accompanies an undergraduate seminar that considers historical accounts of how a mass cultural iconography defined artistic production at that time, while also addressing some of the era’s key theoretical questions concerning the relationship between avant-garde and mass culture in the 20th century.

Hung in conjunction with the course European and American Pop Art, 1955–1975 (FRSEMR 32H, Fall 2015) taught by Benjamin Buchloh, Andrew W. Mellon Professor of Modern Art. The University Teaching Gallery serves faculty and students affiliated with Harvard’s Department of History of Art and Architecture. Semester-long installations are mounted in conjunction with undergraduate and graduate courses, supporting instruction in the critical analysis of art.

The installation complements the special exhibition in the adjacent galleries, Corita Kent and the Language of Pop, which situates Kent’s work within the pop movement, presenting it alongside works by her contemporaries such as Jim Dine, Robert Indiana, Roy Lichtenstein, Ed Ruscha, and Andy Warhol.

This installation is made possible in part by funding from the Gurel Student Exhibition Fund and the José Soriano Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.