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M. Dolores Jiménez-Blanco

Spanish painter, sculptor and printmaker. After studying at the Escuela Superior de Bellas Artes in Madrid he came under the influence of Pop art during a stay in London in 1965. On settling again in Madrid in that year he began to concentrate on images of movement, as in the screenprint ...

Article

German, 20th century, male.

Born 1940, in Wernigerode.

Painter.

Pop Art.

Otmar Alt trained in Berlin, where he lived, exhibiting since 1965 in private German galleries. He integrated well with his generation. His paintings have very jagged forms and clear colours. He might have been distantly compared with Miró, if he had not been able to adapt this style to the cheerful aesthetics of Pop Art....

Article

Roberto Pontual

Brazilian painter and printmaker. After studying engraving in São Paulo, he moved to New York in 1959 to complete his studies at the Pratt Graphic Center, where his contact with international Pop art merged with his own interest in Brazilian popular imagery, for example in the portfolio of woodcuts ...

Article

American, 20th century, female.

Born 1929, in New York.

Painter, draughtswoman. Artists’ books.

Pop Art, Identity Art (Feminist Art).

Ida Applebroog studied at the New York Institute of Applied Arts and Sciences and the School of the Art Institute of Chicago. She lived briefly in California, teaching at the University of California, San Diego, and exhibiting her sculptures locally (as Ida Horowitz). After moving to New York in ...

Article

American, 20th century, male.

Born 1930.

Painter.

Pop Art.

Allan d'Arcangelo studied at the University of Buffalo until 1953. In 1956 he went to New York and lived in Mexico from 1958 to 1959. Since 1956 he has appeared in the major collective shows of Pop Art - the art of salvaging real objects from everyday life, involving ordinary urban settings, everyday objects, rubbish, scrap, cartoons and their heroes. Since ...

Article

Arman  

Alfred Pacquement

American sculptor and collector of French birth. Arman lived in Nice until 1949, studying there at the Ecole des Arts Décoratifs from 1946 and in 1947 striking up a friendship with the artist Yves Klein, with whom he was later closely associated in the Nouveau Réalisme...

Article

American, 20th century, male.

Born 24 September 1930, in Benicia (California); died 2 November 1992, in Benicia.

Ceramicist, sculptor, painter, printmaker, draughtsman. Figures.

Pop Art, Funk Art.

Robert Arneson studied at the College of Marin Kentfield, California (1949-1951), California College of Arts and Crafts (...

Article

Danish, 20th century, male.

Born 1941, in Copenhagen.

Painter.

Pop Art, Minimal Art.

Self-taught, Per Arnoldi was influenced by the imagery of Pop Art. Arnoldi presents objects from the circus such as sticks, hats and balls with a mixture of humour, irony and a calculated naivety. He seems to have veered towards Minimalist austerity in very large formats involving vast monochrome areas separated by verticals in bright colours. He first exhibited in Munich (...

Article

Marco Livingstone

American sculptor and painter . He studied art in 1949–50 under Amédée Ozenfant in New York. During the 1950s he designed and made furniture in New York, but after a fire that destroyed most of the contents of his shop in 1958 he turned again to art, initially painting abstract pictures derived from memories of the New Mexican landscape....

Article

Canadian First Nations (We Wai Kai/Cape Mudge Band), 21st century, male.

Born 1975, in Richmond (British Columbia).

Painter, sculptor, printmaker, photographer.

The aesthetic of Sonny Assu (Liǥwilda’x̱w/Laich-kwil-tach) is a confluence of Northwest Coast formline motifs and popular Western culture. He is well versed in the traditional Kwakwaka’wakw arts of drum, blanket and basket making and uses these as the starting place of many of his artworks. Drawing on a pop sensibility, mass-media culture is used as a conduit to explore and expose these Kwakwaka’wakw traditions as well as the artist’s own mixed heritage. By bringing these seemingly desperate elements together, Assu’s works challenge popular notions of authenticity regarding Indigenous people and their art. Moreover, while the works may appear whimsical at first glance, they offer a sharp critique of Western society’s culture of consumption as it relates to colonisation, both historical and ongoing, in North America....