This dynamic new volume is the first major survey to chronicle the emergence and migration of Pop art from an international perspective, focusing on the period from the 1950s through the early 1970s. Including original texts from a diverse roster of contributors, this catalogue provides important new scholarship on the period, examining production by artists across the globe who were simultaneously confronting radical cultural and political developments that would lay the foundation for the emergence of an art form embracing figuration, media strategies and mechanical processes with a new spirit of urgency and/or exuberance. International Pop amplifies the scope and tenor of what we understand to be "Pop," exposing the tremendous variety and complexity of this pivotal period and subject matter, and revealing how artists alternatively celebrated, cannibalized, rejected or assimilated some of the presumed qualities of Pop advanced in the US and Britain. Anchored by an expansive 48-page visual chronology, the book features in-depth essays by a range of scholars examining developments in Britain, Japan, Brazil, Argentina, Italy and Hungary as well as Western Europe and the US. The volume includes some 320 illustrations, including full-color plates of each work in the exhibition, which integrates many classics of Pop art with numerous rarely seen works. Among the artists included are Evelyne Axel, Peter Blake, Raymundo Colares, Antonio Dias, Rosalyn Drexler, Erró, León Ferrari, Richard Hamilton, David Hockney, Jasper Johns, Tanaami Keiichi, Yves Klein, Jirí Kolár, Yayoi Kusama, Nelson Leirner, Anna Maria Maiolino, Antonio Manuel, Marisol, Marta Minujín, Claes Oldenburg, Wanda Pimentel, Michaelangelo Pistoletto, Sigmar Polke, Gerhard Richter, Mimmo Rotella, Ed Ruscha, Niki de Saint Phalle, Shinjiro Okamoto, Tadanori Yokoo, Wayne Thiebaud, Jean Tinguely, Shinohara Ushio and Andy Warhol.
How Cunningham transformed postwar culture through collaboration Renowned as both choreographer and dancer, Merce Cunningham (1919-2009) also revolutionized dance through his partnerships with the many artists who created costumes, lighting, films and videos, and decor and sound for his choreographic works. Cunningham, together with partner John Cage, invited those artists to help him rethink what dance could mean, both on the stage and in site-responsive contexts. His notion that movement, sound and visual art could share a "common time" remains one of the most radical aesthetic models of the 20th century and yielded extraordinary works by dozens of artists and composers, including Charles Atlas, John Cage, Morris Graves, Jasper Johns, Rei Kawakubo, Robert Morris, Gordon Mumma, Bruce Nauman, Ernesto Neto, Pauline Oliveros, Nam June Paik, Robert Rauschenberg, Frank Stella, David Tudor, Stan VanDerBeek, Andy Warhol and La Monte Young, among many others. These collaborations bring to the fore Cunningham's direct impact upon postwar artistic practice. This 456-page volume, published in conjunction with the Walker Art Center and MCA Chicago's exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site-specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance. It features ten new essays by curators and historians, as well as interviews with contemporary choreographers--Beth Gill, Maria Hassabi, Rashaun Mitchell and Silas Riener--who address Cunningham's continued influence. These are supplemented by rarely published archival photographs, reprints of texts by Cunningham, Cage and other key dancers, artists and scholars, several appendices and an extensive illustrated chronology placing Cunningham's activities and those of his collaborators in the context of the 20th century, particularly the expanded arts scene of the 1960s and 1970s. This book is an essential volume for anyone interested in contemporary art, music and dance.