142 pages | 20 B/W Illus.
This book offers an innovative and interdisciplinary approach to Pop art scholarship through a recuperation of popular music into art historical understandings of the movement. Jukebox modernism is a procedure by which Pop artists used popular music within their works to disrupt decorous modernism during the sixties. Artists, including Peter Blake, Pauline Boty, James Rosenquist, and Andy Warhol, respond to popular music for reasons such as its emotional connectivity, issues of fandom and identity, and the pleasures and problems of looking and listening to an artwork. When we both look at and listen to Pop art, essential aspects of Pop’s history that have been neglected—its sounds, its women, its queerness, and its black subjects—come into focus.
Table of Contents
List of Figures
Introduction: Towards a Definition of Jukebox Modernism
Chapter 1: How to Hear a Painting: Jukebox Modernism and Elvis Presley in Pop
Chapter 2: Pink, White, and Black: The Strange Case of James Rosenquist's Big Bo
Chapter 3: The Sound and Look of Melodrama in Pauline Boty’s Pop Paintings
Chapter 4: Soundtrack Not Included: Andy Warhol’s Sleep
Chapter 5: Sounding Pop Art: An Exhibition History
Conclusion: Contemporary Jukebox Modernism
Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research.