Beskrivning
Moderna Museet, Stockholm. 1964. 112 pages, 82 monochrome, 7 pasted colour illustrations. (22 x 22 cm), paperback, wire stitched binding. On the front cover a picture of a Lichtenstein motif, untreated grey cardboard on the back. Paper in 10 different colours, 4 folding plates on art paper. Designed by Melin & Österlin. (John Melin till exempel pp. 14-15).
Jim Dine, Roy, Lichtenstein, Claes Oldenburg, James Rosenquist, George Segal, Andy Warhol, Tom Wesselmann. Committee and editors: Carlo Derkert, K. G. Hultén, Billy Klüver, Louise O’Konor, Anna-Lena Wibomar (With an essay by:) Alan R. Solomon. (Moderna Museets utställningskatalog. No. 37).
Exhibitions: Stockholm, Moderna Museet, February 29 – April 12, 1964 (27,000 visitors); Humlebæk, Louisiana Museum, 1964; Amsterdam, Stedelijk Museum, June 22 – July 26, 1964.
When Pontus Hultén began preparing the exhibition in 1963, American Pop Art was almost unknown in Europe and had only been shown in a few galleries, such as Leo Castelli (New York) or Ileana Sonnabend (Paris). The Moderna Museet was one of the first museums and the first European institution to exhibit Pop Art in 1964. An earlier date was originally planned, but this was postponed because the time did not seem right. The Moderna Museet had a very young audience, an important prerequisite for ensuring that the exhibition and event program also included risk and experimentation. Through these activities and through its special commitment to contemporary art, the Moderna Museet earned its international reputation as a progressive institution. The exhibition ”Amerikansk pop-konst” (subtitle: ”106 former av kärlek och förtvivlan”) was, like the entire pop culture, which was also expressed in fashion, attitudes to life and above all in music, an event that was intended to appeal to younger visitors. Robert Rauschenberg and Jasper Johns, who are considered early pioneers of pop art alongside British artists such as Richard Hamilton and Eduardo Paolozzi, had already been presented two years previously in Stockholm in the exhibition ”4 amerikanare”.
The unusual design included typical pop elements such as striking artificial colours or the use of cheap, industrially produced materials. Even an advertisement for the friends of the museum was designed with pop motifs. It is interesting to note that a publication published in Holland in 1995 (Pop Art. Rotterdam, Kunsthal) quoted this catalogue design. (Lutz Jahre 13 – 1964).
Recensioner
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