fbpx
Wikipedia

Art pop

January 25, 2023

This article is about a postmodern approach to pop music. For the integration of high art values into popular music, see Art music § Popular music. For the Lady Gaga album, see Artpop. For other uses, see Art pop (disambiguation).
Not to be confused with Art Pope, Art Poe, Experimental pop, Avant-pop, or Progressive pop.

Art pop (also typeset art-pop or artpop) is a loosely defined style of pop music[1] influenced by art theories[7] as well as ideas from other art mediums, such as fashion, fine art, cinema, and avant-garde literature.[3][8] The genre draws on pop art's integration of high and low culture, and emphasizes signs, style, and gesture over personal expression.[7][9] Art pop musicians may deviate from traditional pop audiences and rock music conventions,[10] instead exploring postmodern approaches and ideas such as pop's status as commercial art, notions of artifice and the self, and questions of historical authenticity.

Starting in the mid-1960s, British and American pop musicians such as Brian Wilson, Phil Spector, and the Beatles began incorporating the ideas of the pop art movement into their recordings.[1] English art pop musicians drew from their art school studies,[8] while in America the style drew on the influence of pop artist Andy Warhol and affiliated band the Velvet Underground.[11] The style would experience its "golden age" in the 1970s among glam rock artists such as David Bowie and Roxy Music, who embraced theatricality and throwaway pop culture.[4]

Art pop's tradition continued in the late 1970s and 1980s through styles such as post-punk and synthpop as well as the British New Romantic scene,[5][10] developing further with artists who rejected conventional rock instrumentation and structure in favor of dance styles and the synthesizer.[10] The 2010s saw new art pop trends develop, such as hip hop artists drawing on visual art and vaporwave artists exploring the sensibilities of contemporary capitalism and the Internet.

Characteristics

See also: Art rock
Further information: Pop art

Art pop draws on postmodernism's breakdown of the high/low cultural boundary and explores concepts of artifice and commerce.[12][nb 1] The style emphasizes the manipulation of signs over personal expression, drawing on an aesthetic of the everyday and the disposable, in distinction to the Romantic and autonomous tradition embodied by art rock or progressive rock.[13][nb 2] Sociomusicologist Simon Frith has distinguished the appropriation of art into pop music as having a particular concern with style, gesture, and the ironic use of historical eras and genres.[16] Central to particular purveyors of the style were notions of the self as a work of construction and artifice,[10] as well as a preoccupation with the invention of terms, imagery, process, and affect.[17] The Independent's Nick Coleman wrote: "Art-pop is partly about attitude and style; but it's essentially about art. It is, if you like, a way of making pure formalism socially acceptable in a pop context.[18]

Cultural theorist Mark Fisher wrote that the development of art pop evolved out of the triangulation of pop, art, and fashion.[10] Frith states that it was "more or less" directly inspired by Pop art.[2][3][nb 3] According to critic Stephen Holden, art pop often refers to any pop style which deliberately aspires to the formal values of classical music and poetry, though these works are often marketed by commercial interests rather than respected cultural institutions.[1] Writers for The Independent and the Financial Times have noted the attempts of art pop music to distance its audiences from the public at large.[20][21] Robert Christgau wrote in The Village Voice in 1987 that art-pop results "when a fascination with craft spirals up and in until it turns into an aestheticist obsession."[22]

Cultural background

See also: Psychedelia and Progressive music

What seems clearer in retrospect [...] is a distinction between the first wave of art school musicians, the London provincial r & b players who simply picked up the bohemian attitude and carried it with them into progressive rock, and a second generation, who applied art theories to pop music making

—Simon Frith, Art into Pop (1988)[23]

The boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century.[24] In the 1960s, pop musicians such as John Lennon, Syd Barrett, Pete Townshend, Brian Eno, and Bryan Ferry began to take inspiration from their previous art school studies.[3] Frith states that in Britain, art school represented "a traditional escape route for the bright working class kids, and a breeding ground for young bands like the Beatles and beyond".[12] In North America, art pop was influenced by Bob Dylan and the Beat Generation, and became more literary through folk music's singer-songwriter movement.[1] Before progressive/art rock became the most commercially successful British sound of the early 1970s, the 1960s psychedelic movement brought together art and commercialism, broaching the question of what it meant to be an "artist" in a mass medium.[25] Progressive musicians thought that artistic status depended on personal autonomy, and so the strategy of "progressive" rock groups was to present themselves as performers and composers "above" normal pop practice.[26]

 
Multimedia performance of Warhol's Exploding Plastic Inevitable featuring Nico (right), 1966.

Another chief influence on the development of art pop was the Pop art movement.[1] The term "pop art", first coined to describe the aesthetic value of mass-produced goods, was directly applicable to the contemporary phenomenon of rock and roll (including Elvis Presley, an early Pop art icon).[27] According to Frith: "[Pop art] turned out to signal the end of Romanticism, to be an art without artists. Progressive rock was the bohemians' last bet [...] In this context the key Pop art theorist was not [Richard] Hamilton or any of the other British artists who, for all their interest in the mass market, remained its academic admirers only, but Andy Warhol. For Warhol the significant issue wasn't the relative merits of 'high' and 'low' art but the relationship between all art and 'commerce'."[28] Warhol's Factory house band the Velvet Underground was an American group who emulated Warhol's art/pop synthesis, echoing his emphasis on simplicity, and pioneering a modernist avant-garde approach to art rock that ignored the conventional hierarchies of artistic representation.[29][nb 4]

1960s: Origins

See also: Album era
 
The Beach Boys – "Good Vibrations" (1966)
"Good Vibrations" is a "majesty" of art pop by critic Ed Masley's description. Upon release, it became the group's biggest selling single.[31]
The Beatles – "Strawberry Fields Forever" (1967)
Journalist Peter Doggett also characterized "Strawberry Fields Forever" as art pop, noting its attempt to "self-consciously exclude [...] the mass audience".[21]
Problems playing these files? See media help.

Holden traces art pop's origins to the mid 1960s, when producers such as Phil Spector and musicians such as Brian Wilson of the Beach Boys began incorporating pseudo-symphonic textures to their pop recordings, as well as the Beatles' first recordings with a string quartet.[1][nb 5] In the words of author Matthew Bannister, Wilson and Spector were both known as "eremitic studio obsessives [...] [who] habitually absented themselves from their own work", and like Warhol, Spector existed "not as presence, but as a controlling or organising principle behind and beneath the surfaces of media. Both vastly successful commercial artists, and both simultaneously absent and present in their own creations."[35]

Writer Erik Davis called Wilson's art pop "unique in music history",[36] while collaborator Van Dyke Parks compared it to the contemporaneous work of Warhol and artist Roy Lichtenstein, citing his ability to elevate common or hackneyed material to the level of "high art".[37][nb 6] In his 2004 book Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings, David Howard credits the Beach Boys' 1966 single "Good Vibrations" with launching the "brief, shining moment [when] pop and art came together as unlikely commercial bedfellows."[41]

In a move that was indicated by the Beatles, the Beach Boys, Phil Spector, and Frank Zappa,[42] the dominant format of pop music transitioned from singles to albums, and many rock bands created works that aspired to make grand artistic statements, where art rock would flourish.[1] Musicologist Ian Inglis writes that the cover art for the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band was "perceived as largely responsible for the connections between art and pop to be made explicit".[43] Although Sgt. Pepper's was preceded by several albums that had begun to bridge the line between "disposable" pop and "serious" rock, it successfully gave an established "commercial" voice to an alternative youth culture.[44] Author Michael Johnson wrote that art pop music would continue to exist subsequent to the Beatles, but without ever achieving their level of popular success.[33][nb 7]

The Who was labelled "the first pop art band" by their manager, while member Pete Townshend explains: "We stand for pop art clothes, pop art music and pop art behaviour [...] we don't change offstage; we live pop art."[46] Frith considers their album The Who Sell Out (December 1967) "perhaps the Pop art pop masterpiece", the Who using the "vitality" of commerce itself, a tactic echoed by Roy Wood's the Move and, later, Kevin Godley and Lol Creme of 10cc.[46] Townshend's ideas were notable for their emphasis on commercialism: "[His] use of Pop art rhetoric [...] referred not to music-making as such – to the issue of self-expression – but to commercial music-making, to issues of packaging, selling and publicizing, to the problems of popularity and stardom."[46] In a May 1967 interview, Townshend coined the term "power pop" to describe the music of the Who, the Small Faces, and the Beach Boys. Power pop later developed as a genre known for its reconfiguration of 1960s tropes. Music journalist Paul Lester argued that this component could ratify power pop as one of the first postmodern music genres.[47]

1970s: New York scene and glam

Main article: Glam rock
 
David Bowie, 1974

Music journalist Paul Lester locates "the golden age of adroit, intelligent art-pop" to when the bands 10cc, Roxy Music and Sparks "were mixing and matching from different genres and eras, well before the term 'postmodern' existed in the pop realm."[4] The effect of the Velvet Underground gave rock musicians like Iggy Pop of the Stooges a self-consciousness about their work. Iggy was inspired to transform his personality into an art object, which would in turn influence singer David Bowie, and led to the Stooges' role as the group linking 1960s hard rock to 1970s punk.[11] In the 1970s, a similarly self-conscious art/pop community (which Frith calls "the most significant" of the period) began to coalesce in the Mercer Arts Center in New York. The school encouraged the continuation of the kinds of collaboration between high and low art once exemplified by the Factory, as drummer Jerry Harrison (later of Talking Heads) explained: "it started with the Velvet Underground and all of the things that were identified with Andy Warhol."[11][nb 8]

 
 
Bryan Ferry and Brian Eno in the 1970s

The glam rock scene of the early 1970s would again draw widely on art school sensibilities.[12] Inspired partly by the Beatles' use of alter egos on Sgt. Pepper's,[48] glam emphasized outlandish costumes, theatrical performances, and allusions to throwaway pop culture phenomena, becoming one of the most deliberately visual phenomena to emerge in rock music.[49] Some of its artists, like Bowie, Roxy Music, and ex-Velvet Underground member Lou Reed, would continue the practices associated with the modernist avant-garde branch of art rock.[14][nb 9]

Bowie, a former art-school student and painter,[12] made visual presentation a central aspect of his work,[52] deriving his concept of art pop from the work and attitudes of Warhol and the Velvet Underground.[53] Roxy Music is described by Frith as the "archetypical art pop band."[12] Frontman Bryan Ferry incorporated the influence of his mentor, pop art pioneer Richard Hamilton[49][54] while synthesizer player Brian Eno drew on his study of cybernetics and art under theorist Roy Ascott.[55][nb 10] Frith posits that Ferry and Bowie remain "the most significant influences in British pop", writing they were both concerned with "pop as commercial art", and together made glam rock into an art form to be taken seriously, unlike other "camp" acts such as Gary Glitter. This redefined progressive rock and revitalized the idea of the Romantic artist in terms of media fame.[57] According to Armond White, Roxy Music's engagement with pop art practices effectively "showed that pop's surface frivolity and deep pleasure were legitimate and commanding pursuits."[17] After leaving Roxy Music in 1973, Eno would further explore art pop styles on a series of experimental solo albums.[58][nb 11] For the rest of the decade, he developed Warhol's arguments in a different direction from his contemporaries, and collaborated with a wide range of popular musicians of the era.[57]

1970s–80s: Post-punk developments

Main article: Post-punk
See also: Synthpop and New Romantic

Cultural theorist Mark Fisher characterized a variety of musical developments in the late 1970s, including post-punk, synthpop, and particularly the work of German electronic band Kraftwerk,[60] as situated within art pop traditions.[5] He states that Bowie and Roxy Music's English style of art pop "culminated" with the music of the British group Japan.[8] The Quietus characterized Japan's 1979 album Quiet Life as defining "a very European form of detached, sexually-ambiguous and thoughtful art-pop" similar to that explored by Bowie on 1977's Low.[61] Brian Eno and John Cale would serve a crucial part in the careers of Bowie, Talking Heads, and many key punk and post-punk records.[57] Following the amateurism of the punk movement, post-punk era saw a return to the art school tradition previously embodied by the work of Bowie and Roxy Music,[62][5] with artists drawing ideas from literature, art, cinema, and critical theory into musical and pop cultural contexts while refusing the common distinction between high art and low culture.[63][64][nb 12] An emphasis on multimedia performance and visual art became common.[64]

 
Kate Bush – "Running Up That Hill" (1985)
According to The Concordian, "Running Up That Hill" was among the most distinctive and revolutionary works of 1980s art pop, containing "darting drum rhythms" and Bush's "dogged vocals".[67]
Problems playing this file? See media help.

Fisher characterized subsequent artists such as Grace Jones, the New Romantic groups of the 1980s, and Róisín Murphy as a part of an art pop lineage.[10] He noted that the development of art pop involved the rejection of conventional rock instrumentation and structure in favor of dance styles and the synthesizer.[10] The Quietus names English New Romantic act Duran Duran, who were formatively influenced by the work of Japan, Kraftwerk and David Bowie, as "pioneering art pop up to arena-packing level", developing the style into "a baroque, romantic escape."[61] Critic Simon Reynolds dubbed English singer Kate Bush "the queen of art-pop", citing her merging of glamour, conceptualism, and innovation without forsaking commercial pop success during the late 1970s and 1980s.[68]

1990s–present

 
Björk performing in 2003 at Hurricane Festival.

Icelandic singer Björk was a prominent purveyor of art pop[69] for her wide-ranging integration of disparate forms of art and popular culture.[70] During the 1990s, she became art pop's most commercially successful artist.[71] Discussing Björk in 2015, Jason Farago of The Guardian wrote: "The last 30 years in art history are in large part a story of collaborative enterprises, of collapsed boundaries between high art and low, and of the end of divisions between media. Few cultural figures have made the distinctions seem as meaningless as the Icelandic singer who combined trip hop with 12-tone, and who brought the avant garde to MTV just before both those things disappeared."[72]

 
West's Yeezus Tour was described by Forbes as "the current mass cultural phenomenon best described as 'artpop.'"[73]

According to Barry Walters of NPR, 1990s rap group P.M. Dawn developed a style of "kaleidoscopic art-pop" that was initially dismissed by hip hop fans as "too soft, ruminative and far-ranging" but would eventually pave the way for the work of artists like Drake and Kanye West.[74] In 2013, Spin noted a "new art-pop era" in contemporary music, led by West, in which musicians draw on visual art as a signifier of wealth and extravagance as well as creative exploration.[75] Fact labels West's 2008 album 808s & Heartbreak as an "art-pop masterpiece" which would have a substantive influence on subsequent hip hop music, broadening the style beyond its contemporary emphasis on self-aggrandizement and bravado.[76] The New York Times' Jon Caramanica described West's "thought-provoking and grand-scaled" works as having "widened [hip hop]'s gates, whether for middle-class values or high-fashion and high-art dreams."[77]

Contemporary female artists who "merge glamour, conceptualism, innovation and autonomy," such as Grimes, Julia Holter, and FKA twigs, are frequently described as working in the tradition of Kate Bush.[68] Grimes is described by the Montreal Gazette as "an art-pop phenomenon" and part of "a long tradition of fascination with the pop star as artwork in progress", with particular attention drawn to role of the Internet and digital platforms in her success.[78]

In a 2012 piece for Dummy, critic Adam Harper described an accelerationist zeitgeist in contemporary art-pop characterized by an ambiguous engagement with elements of contemporary capitalism.[6] He mentions the Internet-based genre vaporwave as consisting of underground art-pop musicians like James Ferraro and Daniel Lopatin "exploring the technological and commercial frontiers of 21st century hyper-capitalism's grimmest artistic sensibilities".[6] Artists associated with the scene may release music via online pseudonyms while drawing on ideas of virtuality and synthetic 1990s sources such as corporate mood music, lounge music, and muzak.[6]

List of artists

Main article: List of art pop musicians

Notes

  1. ^ "If postmodernism means a breakdown of high/low cultural boundaries, it means too the end of this historical myth – which is where the art-pop musicians come in, complicating sociological readings of what music means, putting into play their own accounts of authenticity and artifice."[9]
  2. ^ Historically, "art rock" has been used to describe at least two related, but distinct, types of rock music.[14] The first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground.[14] In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".[15]
  3. ^ Musicologist Allan Moore surmises that the term "pop music" itself may have originated from Pop art.[19]
  4. ^ When the Velvet Underground first appeared in the mid 1960s, they faced rejection and were commonly dismissed as a "fag" band.[30]
  5. ^ Through their influential work, Wilson and the Beatles' producer George Martin spread the idea of the recording studio as a creative environment that could assist in the songwriting process.[32] Author Michael Johnson credits the Beach Boys' Pet Sounds (1966) and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) as the first documented "ascension" of rock and roll.[33] Spector has also been credited by journalist Richard Williams with transforming rock music as a performing art to an art which could only exist in the recording studio, which "paved the way for art rock".[34]
  6. ^ The Beach Boys were virtually disconnected from the cultural avant-garde, according to biographer Peter Ames Carlin, who concluded that – with the possible exception of Wilson – they "had [not] shown much discernible interest in what you might call the world of ideas."[38] Wilson's unreleased Smile, conceived and recorded in 1966–67, has been described as an attempt to create "the great art pop album"[39] and the "preeminent psychedelic pop art statement" of the era.[40]
  7. ^ Frith likened the album's elaborate design to "reading the underground press [...] [a skill that] was always constructed around a sense of difference from the 'mass' pop audience. Art rock was 'superior' to all levels. [...] the philistines had to be kept out." He also notes that Zappa targeted the issue of pop commercialism with the cover of the Mothers of Invention's 1968 album We're Only in It for the Money, which parodied the cover of Sgt. Pepper's.[45]
  8. ^ Other students of the center included Laurie Anderson, Suicide's Alan Vega, and Blondie's Chris Stein.[11]
  9. ^ Scholar Philip Auslander noted a pattern with artists who irreverently plundered older styles of music, such as Brill Building and Spector's Wall of Sound.[50] Producer Tony Visconti remembers that in 1970, he, Bowie, and T. Rex's Marc Bolan would "get high and listen to Beach Boys albums and Phil Spector albums – we all had that in common, that we loved the Beach Boys."[51]
  10. ^ Eno's initial musical influences were ideas from the classical avant-garde, like John Cage's indeterminacy, La Monte Young's minimalism, and the Velvet Underground — specifically the band's John Cale.[56]
  11. ^ Eno's 1970s work is cited by musicologist Leigh Landy as an archetypal example of a pop musician who "applied developments from the experimental sector while creating their own experimental pop sector".[59]
  12. ^ Among major influences on a variety of post-punk artists were postmodern novelists such as William S. Burroughs and J. G. Ballard and avant-garde political movements such as Situationism and Dada.[65] Additionally, in some locations the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines related to the music. Simon Reynolds would note: "Beyond the musicians, there was a whole cadre of catalysts and culture warriors, enablers and ideologues who started labels, managed bands, became innovative producers, published fanzines, ran hipster record stores, promoted gigs and organized festivals."[66]

References

  1. ^ a b c d e f g h Holden, Stephen (February 28, 1999). "MUSIC; They're Recording, but Are They Artists?". The New York Times. Retrieved July 17, 2013.
  2. ^ a b Frith & Horne 2016, p. 74.
  3. ^ a b c d Buckley 2012, p. 21.
  4. ^ a b c Lester, Paul (June 11, 2015). "Franz and Sparks: this town is big enough for both of us". The Guardian.
  5. ^ a b c d e Fisher, Mark (2010). "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope (9).
  6. ^ a b c d Harper, Adam (December 7, 2012). "Comment: Vaporwave and the pop-art of the virtual plaza". Dummy. Retrieved February 8, 2014.
  7. ^ a b Frith 1989, p. 116, 208.
  8. ^ a b c Fisher 2014, p. 5.
  9. ^ a b Bannister 2007, p. 184.
  10. ^ a b c d e f g Fisher, Mark (November 7, 2007). . Fact. London. Archived from the original on November 10, 2007. Retrieved November 23, 2015.
  11. ^ a b c d Frith & Horne 2016, pp. 113–114.
  12. ^ a b c d e Frith 1989, p. 208.
  13. ^ Frith & Horne 2016, p. 98.
  14. ^ a b c Bannister 2007, p. 37.
  15. ^ Murray, Noel (May 28, 2015). "60 minutes of music that sum up art-punk pioneers Wire". The A.V. Club.
  16. ^ Frith 1989, p. 97.
  17. ^ a b White, Armond. "The Best of Roxy Music Shows Ferry's Talent for Exploring Pop While Creating It". Retrieved March 15, 2016.
  18. ^ Coleman, Nick (August 31, 2003). "Live Box". The Independent. Independent Print Limited.
  19. ^ Moore 2016, "The (Very) Long 60s", pp. 12–13.
  20. ^ DJ Taylor (August 13, 2015). "Electric Shock: From the Gramophone to the iPhone: 125 Years of Pop Music by Peter Doggett, book review". The Independent. Retrieved March 15, 2016.
  21. ^ a b Aspden, Peter. "The Sound and Fury of Pop Music." Financial Times. 14 August 2015.
  22. ^ Christgau, Robert (February 24, 1987). "Christgau's Consumer Guide". The Village Voice. Retrieved April 24, 2019.
  23. ^ Frith & Horne 2016, p. 100.
  24. ^ Edmondson 2013, p. 1233.
  25. ^ Frith & Horne 2016, p. 99.
  26. ^ Frith & Horne 2016, pp. 74, 99–100.
  27. ^ Frith & Horne 2016, p. 103.
  28. ^ Frith & Horne 2016, p. 108.
  29. ^ Bannister 2007, pp. 44–45.
  30. ^ Bannister 2007, p. 45.
  31. ^ Masley, Ed (October 28, 2011). "Nearly 45 years later, Beach Boys' 'Smile' complete". Arizona Central.
  32. ^ Edmondson 2013, p. 890.
  33. ^ a b Johnson 2009, p. 197.
  34. ^ Williams 2003, p. 38.
  35. ^ Bannister 2007, pp. 38, 44–45.
  36. ^ Davis, Erik (November 9, 1990). . LA Weekly. Archived from the original on December 4, 2014. Retrieved January 14, 2014.
  37. ^ Himes, Geoffrey. (PDF). teachrock.org. Rock and Roll: An American History. Archived from the original (PDF) on November 25, 2015.
  38. ^ Carlin 2006, p. 62.
  39. ^ Richardson, Mark (November 2, 2011). "The Smile Sessions review". Pitchfork. Retrieved July 16, 2013.
  40. ^ Staton, Scott (September 22, 2005). "A Lost Pop Symphony". The New York Review of Books. Retrieved September 12, 2013.
  41. ^ Howard 2004, p. 66.
  42. ^ Julien 2008, pp. 30, 160.
  43. ^ Julien 2008, p. 102.
  44. ^ Holm-Hudson 2013, p. 10.
  45. ^ Frith & Horne 2016, pp. 57–58, 99.
  46. ^ a b c Frith & Horne 2016, p. 101.
  47. ^ Lester, Paul (February 11, 2015). "Powerpop: 10 of the best". The Guardian.
  48. ^ MacDonald 2005, p. 232.
  49. ^ a b Molon & Diederichsen 2007, p. 73.
  50. ^ Auslander 2006, pp. 55, 86, 179.
  51. ^ Curtis 1987, p. 263.
  52. ^ Cavna, Michael. "Beyond the music: How David Bowie was one of our smartest visual artists". The Washington Post. Retrieved March 14, 2016.
  53. ^ Jones, Jonathan (March 15, 2013). "David Bowie and the sexual stamina of Dorothy Iannones – the week in art". The Guardian. Retrieved March 5, 2016.
  54. ^ Walker, John. (1987) "Bryan Ferry : music + art school". Cross-Overs: Art into Pop, Pop into Art.
  55. ^ Shanken, Edward (2002). "Cybernetics and Art: Cultural Convergence in the 1960s" (PDF). responsivelandscapes.com.
  56. ^ Frith & Horne 2016, p. 117.
  57. ^ a b c Frith & Horne 2016, p. 116.
  58. ^ Heller, Jason (June 14, 2012). "Getting started with Brian Eno, glam icon and art-pop pioneer". The A.V. Club. Chicago. Retrieved July 17, 2013.
  59. ^ Landy 2013, p. 167.
  60. ^ Fisher 2014, p. 36.
  61. ^ a b Sparham, Maddy (March 31, 2013). "Duran Duran Versus Japan: The Substance Of Style". The Quietus. Retrieved January 8, 2017.
  62. ^ Rojek 2011, p. 28.
  63. ^ Anindya Bhattacharyya. "Simon Reynolds interview: Pop, politics, hip-hop and postpunk" Socialist Worker. Issue 2053, May 2007.
  64. ^ a b Reynolds 2006, p. xxxi.
  65. ^ Reynolds 2006, p. 7.
  66. ^ Reynolds 2006, p. 29.
  67. ^ Cashen, Calvin (March 8, 2016). "Top art pop albums of the '80s". The Corncordian.
  68. ^ a b Reynolds, Simon (August 21, 2014). "Kate Bush, the queen of art-pop who defied her critics". The Guardian. Retrieved March 5, 2016.
  69. ^ Hermes, Will (January 23, 2015). . Rolling Stone. Wenner Publishing. Archived from the original on March 25, 2016. Retrieved March 6, 2016.
  70. ^ "Björk's Been ARTPOP Since Before Gaga Was Born This Way". The Huffington Post. July 17, 2013. Retrieved January 2, 2016.
  71. ^ Hunter, James (October 1997). "Björk – Homogenic". Spin. Vol. 13, no. 7. Spin Media. ISSN 0886-3032. Retrieved March 6, 2016.
  72. ^ Farago, Jason (March 4, 2015). "Björk review – a strangely unambitious hotchpotch". The Guardian. Retrieved March 4, 2015.
  73. ^ Greenburg, Zack O'Malley. "Kanye West Makes His Own Artpop On Yeezus Tour". Forbes. Retrieved July 25, 2016.
  74. ^ Walters, Barry. "Dev Hynes Wants To Know What It Feels Like To Be Free". NPR. Retrieved August 22, 2016.
  75. ^ Shepherd, Julianne Escobedo. "Pop for Art's Sake Goes Varoom!". Spin. Retrieved July 25, 2016.
  76. ^ Twells, John (June 18, 2010). "Drake: Thank Me Later". Fact Magazine. Retrieved July 25, 2016.
  77. ^ Caraminica, Joe (June 11, 2013). "Behind Kanye's Mask". The New York Times.
  78. ^ O'Mara, Jamie. "Grimes's star shines online". Montreal Gazette. Retrieved March 12, 2016.

Bibliography

Further reading

  • Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. University of Chicago Press. ISBN 978-0-226-28737-9.
  • Harron, Mary (1980). "Pop Art/Art Pop: The Andy Warhol Connection". In Hoskyns, Barney (ed.). The Sound and the Fury: 40 Years of Classic Rock Journalism: A Rock's Backpages Reader. Bloomsbury USA (published 2003). ISBN 978-1-58234-282-5. (subscription required)
  • Waterman, Bryan (2011). Television's Marquee Moon. Bloomsbury Publishing. ISBN 978-1-4411-4529-1.

January 25, 2023
this, article, about, postmodern, approach, music, integration, high, values, into, popular, music, music, popular, music, lady, gaga, album, artpop, other, uses, disambiguation, confused, with, pope, experimental, avant, progressive, also, typeset, artpop, lo. This article is about a postmodern approach to pop music For the integration of high art values into popular music see Art music Popular music For the Lady Gaga album see Artpop For other uses see Art pop disambiguation Not to be confused with Art Pope Art Poe Experimental pop Avant pop or Progressive pop Art pop also typeset art pop or artpop is a loosely defined style of pop music 1 influenced by art theories 7 as well as ideas from other art mediums such as fashion fine art cinema and avant garde literature 3 8 The genre draws on pop art s integration of high and low culture and emphasizes signs style and gesture over personal expression 7 9 Art pop musicians may deviate from traditional pop audiences and rock music conventions 10 instead exploring postmodern approaches and ideas such as pop s status as commercial art notions of artifice and the self and questions of historical authenticity Art popStylistic originsPop 1 pop art 2 3 Cultural originsMid 1960s United Kingdom and United StatesDerivative formsGlam rock 4 post punk 5 synth pop 5 vaporwave 6 Other topicsArt rock industrial list of art pop musicians art world avant pop commercialism experimental pop low culture New Romantic power pop progressive popStarting in the mid 1960s British and American pop musicians such as Brian Wilson Phil Spector and the Beatles began incorporating the ideas of the pop art movement into their recordings 1 English art pop musicians drew from their art school studies 8 while in America the style drew on the influence of pop artist Andy Warhol and affiliated band the Velvet Underground 11 The style would experience its golden age in the 1970s among glam rock artists such as David Bowie and Roxy Music who embraced theatricality and throwaway pop culture 4 Art pop s tradition continued in the late 1970s and 1980s through styles such as post punk and synthpop as well as the British New Romantic scene 5 10 developing further with artists who rejected conventional rock instrumentation and structure in favor of dance styles and the synthesizer 10 The 2010s saw new art pop trends develop such as hip hop artists drawing on visual art and vaporwave artists exploring the sensibilities of contemporary capitalism and the Internet Contents 1 Characteristics 2 Cultural background 3 1960s Origins 4 1970s New York scene and glam 5 1970s 80s Post punk developments 6 1990s present 7 List of artists 8 Notes 9 References 10 Bibliography 11 Further readingCharacteristics EditSee also Art rock Further information Pop art Art pop draws on postmodernism s breakdown of the high low cultural boundary and explores concepts of artifice and commerce 12 nb 1 The style emphasizes the manipulation of signs over personal expression drawing on an aesthetic of the everyday and the disposable in distinction to the Romantic and autonomous tradition embodied by art rock or progressive rock 13 nb 2 Sociomusicologist Simon Frith has distinguished the appropriation of art into pop music as having a particular concern with style gesture and the ironic use of historical eras and genres 16 Central to particular purveyors of the style were notions of the self as a work of construction and artifice 10 as well as a preoccupation with the invention of terms imagery process and affect 17 The Independent s Nick Coleman wrote Art pop is partly about attitude and style but it s essentially about art It is if you like a way of making pure formalism socially acceptable in a pop context 18 Cultural theorist Mark Fisher wrote that the development of art pop evolved out of the triangulation of pop art and fashion 10 Frith states that it was more or less directly inspired by Pop art 2 3 nb 3 According to critic Stephen Holden art pop often refers to any pop style which deliberately aspires to the formal values of classical music and poetry though these works are often marketed by commercial interests rather than respected cultural institutions 1 Writers for The Independent and the Financial Times have noted the attempts of art pop music to distance its audiences from the public at large 20 21 Robert Christgau wrote in The Village Voice in 1987 that art pop results when a fascination with craft spirals up and in until it turns into an aestheticist obsession 22 Cultural background EditSee also Psychedelia and Progressive music What seems clearer in retrospect is a distinction between the first wave of art school musicians the London provincial r amp b players who simply picked up the bohemian attitude and carried it with them into progressive rock and a second generation who applied art theories to pop music making Simon Frith Art into Pop 1988 23 The boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century 24 In the 1960s pop musicians such as John Lennon Syd Barrett Pete Townshend Brian Eno and Bryan Ferry began to take inspiration from their previous art school studies 3 Frith states that in Britain art school represented a traditional escape route for the bright working class kids and a breeding ground for young bands like the Beatles and beyond 12 In North America art pop was influenced by Bob Dylan and the Beat Generation and became more literary through folk music s singer songwriter movement 1 Before progressive art rock became the most commercially successful British sound of the early 1970s the 1960s psychedelic movement brought together art and commercialism broaching the question of what it meant to be an artist in a mass medium 25 Progressive musicians thought that artistic status depended on personal autonomy and so the strategy of progressive rock groups was to present themselves as performers and composers above normal pop practice 26 Multimedia performance of Warhol s Exploding Plastic Inevitable featuring Nico right 1966 Another chief influence on the development of art pop was the Pop art movement 1 The term pop art first coined to describe the aesthetic value of mass produced goods was directly applicable to the contemporary phenomenon of rock and roll including Elvis Presley an early Pop art icon 27 According to Frith Pop art turned out to signal the end of Romanticism to be an art without artists Progressive rock was the bohemians last bet In this context the key Pop art theorist was not Richard Hamilton or any of the other British artists who for all their interest in the mass market remained its academic admirers only but Andy Warhol For Warhol the significant issue wasn t the relative merits of high and low art but the relationship between all art and commerce 28 Warhol s Factory house band the Velvet Underground was an American group who emulated Warhol s art pop synthesis echoing his emphasis on simplicity and pioneering a modernist avant garde approach to art rock that ignored the conventional hierarchies of artistic representation 29 nb 4 1960s Origins EditSee also Album era The Beach Boys Good Vibrations 1966 source source track Good Vibrations is a majesty of art pop by critic Ed Masley s description Upon release it became the group s biggest selling single 31 The Beatles Strawberry Fields Forever 1967 source source track Journalist Peter Doggett also characterized Strawberry Fields Forever as art pop noting its attempt to self consciously exclude the mass audience 21 Problems playing these files See media help Holden traces art pop s origins to the mid 1960s when producers such as Phil Spector and musicians such as Brian Wilson of the Beach Boys began incorporating pseudo symphonic textures to their pop recordings as well as the Beatles first recordings with a string quartet 1 nb 5 In the words of author Matthew Bannister Wilson and Spector were both known as eremitic studio obsessives who habitually absented themselves from their own work and like Warhol Spector existed not as presence but as a controlling or organising principle behind and beneath the surfaces of media Both vastly successful commercial artists and both simultaneously absent and present in their own creations 35 Writer Erik Davis called Wilson s art pop unique in music history 36 while collaborator Van Dyke Parks compared it to the contemporaneous work of Warhol and artist Roy Lichtenstein citing his ability to elevate common or hackneyed material to the level of high art 37 nb 6 In his 2004 book Sonic Alchemy Visionary Music Producers and Their Maverick Recordings David Howard credits the Beach Boys 1966 single Good Vibrations with launching the brief shining moment when pop and art came together as unlikely commercial bedfellows 41 In a move that was indicated by the Beatles the Beach Boys Phil Spector and Frank Zappa 42 the dominant format of pop music transitioned from singles to albums and many rock bands created works that aspired to make grand artistic statements where art rock would flourish 1 Musicologist Ian Inglis writes that the cover art for the Beatles 1967 album Sgt Pepper s Lonely Hearts Club Band was perceived as largely responsible for the connections between art and pop to be made explicit 43 Although Sgt Pepper s was preceded by several albums that had begun to bridge the line between disposable pop and serious rock it successfully gave an established commercial voice to an alternative youth culture 44 Author Michael Johnson wrote that art pop music would continue to exist subsequent to the Beatles but without ever achieving their level of popular success 33 nb 7 The Who was labelled the first pop art band by their manager while member Pete Townshend explains We stand for pop art clothes pop art music and pop art behaviour we don t change offstage we live pop art 46 Frith considers their album The Who Sell Out December 1967 perhaps the Pop art pop masterpiece the Who using the vitality of commerce itself a tactic echoed by Roy Wood s the Move and later Kevin Godley and Lol Creme of 10cc 46 Townshend s ideas were notable for their emphasis on commercialism His use of Pop art rhetoric referred not to music making as such to the issue of self expression but to commercial music making to issues of packaging selling and publicizing to the problems of popularity and stardom 46 In a May 1967 interview Townshend coined the term power pop to describe the music of the Who the Small Faces and the Beach Boys Power pop later developed as a genre known for its reconfiguration of 1960s tropes Music journalist Paul Lester argued that this component could ratify power pop as one of the first postmodern music genres 47 1970s New York scene and glam EditMain article Glam rock David Bowie 1974 Music journalist Paul Lester locates the golden age of adroit intelligent art pop to when the bands 10cc Roxy Music and Sparks were mixing and matching from different genres and eras well before the term postmodern existed in the pop realm 4 The effect of the Velvet Underground gave rock musicians like Iggy Pop of the Stooges a self consciousness about their work Iggy was inspired to transform his personality into an art object which would in turn influence singer David Bowie and led to the Stooges role as the group linking 1960s hard rock to 1970s punk 11 In the 1970s a similarly self conscious art pop community which Frith calls the most significant of the period began to coalesce in the Mercer Arts Center in New York The school encouraged the continuation of the kinds of collaboration between high and low art once exemplified by the Factory as drummer Jerry Harrison later of Talking Heads explained it started with the Velvet Underground and all of the things that were identified with Andy Warhol 11 nb 8 Bryan Ferry and Brian Eno in the 1970s The glam rock scene of the early 1970s would again draw widely on art school sensibilities 12 Inspired partly by the Beatles use of alter egos on Sgt Pepper s 48 glam emphasized outlandish costumes theatrical performances and allusions to throwaway pop culture phenomena becoming one of the most deliberately visual phenomena to emerge in rock music 49 Some of its artists like Bowie Roxy Music and ex Velvet Underground member Lou Reed would continue the practices associated with the modernist avant garde branch of art rock 14 nb 9 Bowie a former art school student and painter 12 made visual presentation a central aspect of his work 52 deriving his concept of art pop from the work and attitudes of Warhol and the Velvet Underground 53 Roxy Music is described by Frith as the archetypical art pop band 12 Frontman Bryan Ferry incorporated the influence of his mentor pop art pioneer Richard Hamilton 49 54 while synthesizer player Brian Eno drew on his study of cybernetics and art under theorist Roy Ascott 55 nb 10 Frith posits that Ferry and Bowie remain the most significant influences in British pop writing they were both concerned with pop as commercial art and together made glam rock into an art form to be taken seriously unlike other camp acts such as Gary Glitter This redefined progressive rock and revitalized the idea of the Romantic artist in terms of media fame 57 According to Armond White Roxy Music s engagement with pop art practices effectively showed that pop s surface frivolity and deep pleasure were legitimate and commanding pursuits 17 After leaving Roxy Music in 1973 Eno would further explore art pop styles on a series of experimental solo albums 58 nb 11 For the rest of the decade he developed Warhol s arguments in a different direction from his contemporaries and collaborated with a wide range of popular musicians of the era 57 1970s 80s Post punk developments EditMain article Post punk See also Synthpop and New Romantic Cultural theorist Mark Fisher characterized a variety of musical developments in the late 1970s including post punk synthpop and particularly the work of German electronic band Kraftwerk 60 as situated within art pop traditions 5 He states that Bowie and Roxy Music s English style of art pop culminated with the music of the British group Japan 8 The Quietus characterized Japan s 1979 album Quiet Life as defining a very European form of detached sexually ambiguous and thoughtful art pop similar to that explored by Bowie on 1977 s Low 61 Brian Eno and John Cale would serve a crucial part in the careers of Bowie Talking Heads and many key punk and post punk records 57 Following the amateurism of the punk movement post punk era saw a return to the art school tradition previously embodied by the work of Bowie and Roxy Music 62 5 with artists drawing ideas from literature art cinema and critical theory into musical and pop cultural contexts while refusing the common distinction between high art and low culture 63 64 nb 12 An emphasis on multimedia performance and visual art became common 64 Kate Bush Running Up That Hill 1985 source source track According to The Concordian Running Up That Hill was among the most distinctive and revolutionary works of 1980s art pop containing darting drum rhythms and Bush s dogged vocals 67 Problems playing this file See media help Fisher characterized subsequent artists such as Grace Jones the New Romantic groups of the 1980s and Roisin Murphy as a part of an art pop lineage 10 He noted that the development of art pop involved the rejection of conventional rock instrumentation and structure in favor of dance styles and the synthesizer 10 The Quietus names English New Romantic act Duran Duran who were formatively influenced by the work of Japan Kraftwerk and David Bowie as pioneering art pop up to arena packing level developing the style into a baroque romantic escape 61 Critic Simon Reynolds dubbed English singer Kate Bush the queen of art pop citing her merging of glamour conceptualism and innovation without forsaking commercial pop success during the late 1970s and 1980s 68 1990s present Edit Bjork performing in 2003 at Hurricane Festival Icelandic singer Bjork was a prominent purveyor of art pop 69 for her wide ranging integration of disparate forms of art and popular culture 70 During the 1990s she became art pop s most commercially successful artist 71 Discussing Bjork in 2015 Jason Farago of The Guardian wrote The last 30 years in art history are in large part a story of collaborative enterprises of collapsed boundaries between high art and low and of the end of divisions between media Few cultural figures have made the distinctions seem as meaningless as the Icelandic singer who combined trip hop with 12 tone and who brought the avant garde to MTV just before both those things disappeared 72 West s Yeezus Tour was described by Forbes as the current mass cultural phenomenon best described as artpop 73 According to Barry Walters of NPR 1990s rap group P M Dawn developed a style of kaleidoscopic art pop that was initially dismissed by hip hop fans as too soft ruminative and far ranging but would eventually pave the way for the work of artists like Drake and Kanye West 74 In 2013 Spin noted a new art pop era in contemporary music led by West in which musicians draw on visual art as a signifier of wealth and extravagance as well as creative exploration 75 Fact labels West s 2008 album 808s amp Heartbreak as an art pop masterpiece which would have a substantive influence on subsequent hip hop music broadening the style beyond its contemporary emphasis on self aggrandizement and bravado 76 The New York Times Jon Caramanica described West s thought provoking and grand scaled works as having widened hip hop s gates whether for middle class values or high fashion and high art dreams 77 Contemporary female artists who merge glamour conceptualism innovation and autonomy such as Grimes Julia Holter and FKA twigs are frequently described as working in the tradition of Kate Bush 68 Grimes is described by the Montreal Gazette as an art pop phenomenon and part of a long tradition of fascination with the pop star as artwork in progress with particular attention drawn to role of the Internet and digital platforms in her success 78 In a 2012 piece for Dummy critic Adam Harper described an accelerationist zeitgeist in contemporary art pop characterized by an ambiguous engagement with elements of contemporary capitalism 6 He mentions the Internet based genre vaporwave as consisting of underground art pop musicians like James Ferraro and Daniel Lopatin exploring the technological and commercial frontiers of 21st century hyper capitalism s grimmest artistic sensibilities 6 Artists associated with the scene may release music via online pseudonyms while drawing on ideas of virtuality and synthetic 1990s sources such as corporate mood music lounge music and muzak 6 List of artists EditMain article List of art pop musiciansNotes Edit If postmodernism means a breakdown of high low cultural boundaries it means too the end of this historical myth which is where the art pop musicians come in complicating sociological readings of what music means putting into play their own accounts of authenticity and artifice 9 Historically art rock has been used to describe at least two related but distinct types of rock music 14 The first is progressive rock while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist avant garde approach defined by the Velvet Underground 14 In the rock music of the 1970s the art descriptor was generally understood to mean aggressively avant garde or pretentiously progressive 15 Musicologist Allan Moore surmises that the term pop music itself may have originated from Pop art 19 When the Velvet Underground first appeared in the mid 1960s they faced rejection and were commonly dismissed as a fag band 30 Through their influential work Wilson and the Beatles producer George Martin spread the idea of the recording studio as a creative environment that could assist in the songwriting process 32 Author Michael Johnson credits the Beach Boys Pet Sounds 1966 and the Beatles Sgt Pepper s Lonely Hearts Club Band 1967 as the first documented ascension of rock and roll 33 Spector has also been credited by journalist Richard Williams with transforming rock music as a performing art to an art which could only exist in the recording studio which paved the way for art rock 34 The Beach Boys were virtually disconnected from the cultural avant garde according to biographer Peter Ames Carlin who concluded that with the possible exception of Wilson they had not shown much discernible interest in what you might call the world of ideas 38 Wilson s unreleased Smile conceived and recorded in 1966 67 has been described as an attempt to create the great art pop album 39 and the preeminent psychedelic pop art statement of the era 40 Frith likened the album s elaborate design to reading the underground press a skill that was always constructed around a sense of difference from the mass pop audience Art rock was superior to all levels the philistines had to be kept out He also notes that Zappa targeted the issue of pop commercialism with the cover of the Mothers of Invention s 1968 album We re Only in It for the Money which parodied the cover of Sgt Pepper s 45 Other students of the center included Laurie Anderson Suicide s Alan Vega and Blondie s Chris Stein 11 Scholar Philip Auslander noted a pattern with artists who irreverently plundered older styles of music such as Brill Building and Spector s Wall of Sound 50 Producer Tony Visconti remembers that in 1970 he Bowie and T Rex s Marc Bolan would get high and listen to Beach Boys albums and Phil Spector albums we all had that in common that we loved the Beach Boys 51 Eno s initial musical influences were ideas from the classical avant garde like John Cage s indeterminacy La Monte Young s minimalism and the Velvet Underground specifically the band s John Cale 56 Eno s 1970s work is cited by musicologist Leigh Landy as an archetypal example of a pop musician who applied developments from the experimental sector while creating their own experimental pop sector 59 Among major influences on a variety of post punk artists were postmodern novelists such as William S Burroughs and J G Ballard and avant garde political movements such as Situationism and Dada 65 Additionally in some locations the creation of post punk music was closely linked to the development of efficacious subcultures which played important roles in the production of art multimedia performances fanzines related to the music Simon Reynolds would note Beyond the musicians there was a whole cadre of catalysts and culture warriors enablers and ideologues who started labels managed bands became innovative producers published fanzines ran hipster record stores promoted gigs and organized festivals 66 References Edit a b c d e f g h Holden Stephen February 28 1999 MUSIC They re Recording but Are They Artists The New York Times Retrieved July 17 2013 a b Frith amp Horne 2016 p 74 a b c d Buckley 2012 p 21 a b c Lester Paul June 11 2015 Franz and Sparks this town is big enough for both of us The Guardian a b c d e Fisher Mark 2010 You Remind Me of Gold Dialogue with Simon Reynolds Kaleidoscope 9 a b c d Harper Adam December 7 2012 Comment Vaporwave and the pop art of the virtual plaza Dummy Retrieved February 8 2014 a b Frith 1989 p 116 208 a b c Fisher 2014 p 5 a b Bannister 2007 p 184 a b c d e f g Fisher Mark November 7 2007 Glam s Exiled Princess Roisin Murphy Fact London Archived from the original on November 10 2007 Retrieved November 23 2015 a b c d Frith amp Horne 2016 pp 113 114 a b c d e Frith 1989 p 208 Frith amp Horne 2016 p 98 a b c Bannister 2007 p 37 Murray Noel May 28 2015 60 minutes of music that sum up art punk pioneers Wire The A V Club Frith 1989 p 97 a b White Armond The Best of Roxy Music Shows Ferry s Talent for Exploring Pop While Creating It Retrieved March 15 2016 Coleman Nick August 31 2003 Live Box The Independent Independent Print Limited Moore 2016 The Very Long 60s pp 12 13 DJ Taylor August 13 2015 Electric Shock From the Gramophone to the iPhone 125 Years of Pop Music by Peter Doggett book review The Independent Retrieved March 15 2016 a b Aspden Peter The Sound and Fury of Pop Music Financial Times 14 August 2015 Christgau Robert February 24 1987 Christgau s Consumer Guide The Village Voice Retrieved April 24 2019 Frith amp Horne 2016 p 100 Edmondson 2013 p 1233 Frith amp Horne 2016 p 99 Frith amp Horne 2016 pp 74 99 100 Frith amp Horne 2016 p 103 Frith amp Horne 2016 p 108 Bannister 2007 pp 44 45 Bannister 2007 p 45 Masley Ed October 28 2011 Nearly 45 years later Beach Boys Smile complete Arizona Central Edmondson 2013 p 890 a b Johnson 2009 p 197 Williams 2003 p 38 Bannister 2007 pp 38 44 45 Davis Erik November 9 1990 Look Listen Vibrate SMILE The Apollonian Shimmer of the Beach Boys LA Weekly Archived from the original on December 4 2014 Retrieved January 14 2014 Himes Geoffrey Surf Music PDF teachrock org Rock and Roll An American History Archived from the original PDF on November 25 2015 Carlin 2006 p 62 Richardson Mark November 2 2011 The Smile Sessions review Pitchfork Retrieved July 16 2013 Staton Scott September 22 2005 A Lost Pop Symphony The New York Review of Books Retrieved September 12 2013 Howard 2004 p 66 Julien 2008 pp 30 160 Julien 2008 p 102 Holm Hudson 2013 p 10 Frith amp Horne 2016 pp 57 58 99 a b c Frith amp Horne 2016 p 101 Lester Paul February 11 2015 Powerpop 10 of the best The Guardian MacDonald 2005 p 232 a b Molon amp Diederichsen 2007 p 73 Auslander 2006 pp 55 86 179 Curtis 1987 p 263 Cavna Michael Beyond the music How David Bowie was one of our smartest visual artists The Washington Post Retrieved March 14 2016 Jones Jonathan March 15 2013 David Bowie and the sexual stamina of Dorothy Iannones the week in art The Guardian Retrieved March 5 2016 Walker John 1987 Bryan Ferry music art school Cross Overs Art into Pop Pop into Art Shanken Edward 2002 Cybernetics and Art Cultural Convergence in the 1960s PDF responsivelandscapes com Frith amp Horne 2016 p 117 a b c Frith amp Horne 2016 p 116 Heller Jason June 14 2012 Getting started with Brian Eno glam icon and art pop pioneer The A V Club Chicago Retrieved July 17 2013 Landy 2013 p 167 Fisher 2014 p 36 a b Sparham Maddy March 31 2013 Duran Duran Versus Japan The Substance Of Style The Quietus Retrieved January 8 2017 Rojek 2011 p 28 Anindya Bhattacharyya Simon Reynolds interview Pop politics hip hop and postpunk Socialist Worker Issue 2053 May 2007 a b Reynolds 2006 p xxxi Reynolds 2006 p 7 Reynolds 2006 p 29 Cashen Calvin March 8 2016 Top art pop albums of the 80s The Corncordian a b Reynolds Simon August 21 2014 Kate Bush the queen of art pop who defied her critics The Guardian Retrieved March 5 2016 Hermes Will January 23 2015 Vulnicura Album Review Rolling Stone Wenner Publishing Archived from the original on March 25 2016 Retrieved March 6 2016 Bjork s Been ARTPOP Since Before Gaga Was Born This Way The Huffington Post July 17 2013 Retrieved January 2 2016 Hunter James October 1997 Bjork Homogenic Spin Vol 13 no 7 Spin Media ISSN 0886 3032 Retrieved March 6 2016 Farago Jason March 4 2015 Bjork review a strangely unambitious hotchpotch The Guardian Retrieved March 4 2015 Greenburg Zack O Malley Kanye West Makes His Own Artpop On Yeezus Tour Forbes Retrieved July 25 2016 Walters Barry Dev Hynes Wants To Know What It Feels Like To Be Free NPR Retrieved August 22 2016 Shepherd Julianne Escobedo Pop for Art s Sake Goes Varoom Spin Retrieved July 25 2016 Twells John June 18 2010 Drake Thank Me Later Fact Magazine Retrieved July 25 2016 Caraminica Joe June 11 2013 Behind Kanye s Mask The New York Times O Mara Jamie Grimes s star shines online Montreal Gazette Retrieved March 12 2016 Bibliography EditAuslander Philip 2006 Performing Glam Rock Gender and Theatricality in Popular Music University of Michigan Press ISBN 0 472 06868 7 Bannister Matthew 2007 White Boys White Noise Masculinities and 1980s Indie Guitar Rock Ashgate Publishing Ltd ISBN 978 0 7546 8803 7 Buckley David 2012 Strange Fascination David Bowie The Definitive Story Random House ISBN 978 1 4481 3247 8 Carlin Peter Ames 2006 Catch a Wave The Rise Fall and Redemption of the Beach Boys Brian Wilson Rodale ISBN 978 1 59486 320 2 Curtis James M 1987 Rock Eras Interpretations of Music and Society 1954 1984 Popular Press ISBN 978 0 87972 369 9 Howard David N 2004 Sonic Alchemy Visionary Music Producers and Their Maverick Recordings 1st ed Milwaukee WI Hal Leonard Corp ISBN 0634055607 Molon Dominic Diederichsen Diedrich 2007 Sympathy for the Devil Art and Rock and Roll Since 1967 Yale University Press ISBN 978 0 300 13426 1 Edmondson Jacqueline ed 2013 Music in American Life An Encyclopedia of the Songs Styles Stars and Stories that Shaped our Culture ABC CLIO ISBN 978 0 313 39348 8 Fisher Mark 2014 Just When I Think I m Winning Ghosts of My Life Writings on Depression Hauntology and Lost Futures Zero Books ISBN 978 1 78099 226 6 Frith Simon 1989 Facing the Music A Pantheon Guide to Popular Culture Pantheon Books ISBN 0 394 55849 9 Frith Simon Horne Howard 2016 First published 1988 Art Into Pop Routledge ISBN 978 1 317 22803 5 Holm Hudson Kevin ed 2013 Progressive Rock Reconsidered Routledge ISBN 978 1 135 71022 4 Landy Leigh 2013 What s the Matter with Today s Experimental Music Routledge ISBN 978 3 7186 5168 9 MacDonald Ian 2005 Revolution in the Head The Beatles Records and the Sixties 3rd ed Chicago Review Press ISBN 978 1 55652 733 3 Johnson Michael 2009 Pop Music Theory Lulu com ISBN 978 0 578 03539 0 self published source Julien Oliver 2008 Julien Olivier ed Sgt Pepper and the Beatles It Was Forty Years Ago Today Ashgate ISBN 978 0 7546 6708 7 Moore Allan F 2016 Song Means Analysing and Interpreting Recorded Popular Song Routledge ISBN 978 1 317 05265 4 Reynolds Simon 2006 Rip It Up and Start Again Postpunk 1978 1984 Penguin Publishing Group ISBN 978 1 101 20105 3 Rojek Chris 2011 Pop Music Pop Culture Polity ISBN 978 0 7456 4263 5 Williams Richard 2003 Phil Spector Out of His Head Music Sales Group ISBN 978 0 7119 9864 3 Further reading EditGendron Bernard 2002 Between Montmartre and the Mudd Club Popular Music and the Avant Garde University of Chicago Press ISBN 978 0 226 28737 9 Harron Mary 1980 Pop Art Art Pop The Andy Warhol Connection In Hoskyns Barney ed The Sound and the Fury 40 Years of Classic Rock Journalism A Rock s Backpages Reader Bloomsbury USA published 2003 ISBN 978 1 58234 282 5 subscription required Waterman Bryan 2011 Television s Marquee Moon Bloomsbury Publishing ISBN 978 1 4411 4529 1 Retrieved from https en wikipedia org w index php title Art pop amp oldid 1128853904, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.