Description
Book SynopsisThis 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 Popâs history that have been neglectedâits sounds, its women, its queerness, and its black subjectsâcome into focus.
Table of ContentsTable of Contents
List of Figures
Acknowledgements
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
Bibliography
Index
