The irony of Pop art’s anti-consumerist mass market appeal

The influence of Warhol, Lichtenstein et al is evident in their successors’ work — but as the commercial world they sent up has evolved, a new take on Pop art has emerged, says Anthony Haden-Guest




Most of the art world’s ‘-isms’ began as gangs. Or perhaps cults. The Impressionists were the proud rejects: the Salon des Refusés! Picasso and Braque explored Cubism ‘roped together like mountaineers’, in Braque’s famous words. Dada had a clubhouse (the Cabaret Voltaire) and hardcore Dadaists like Richard Huelsenbeck snubbed their successors, the Surrealists.

The Surrealists’ leader, André Breton, routinely ‘deep-sixed’ followers who got out of line. The Abstract Expressionists flexed throats and muscles at the Eighth Street Club and the Cedar Tavern. I could go on.

Then there

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