The World Goes Pop: Tate Modern

A “pop” of colour was just what I needed on a grey afternoon as autumn truly begins to kick in… and that’s exactly what ‘The World Goes Pop’ gave me. Each of the ten large galleries in this exhibition is painted a different bright hue; from red, to pink, green, orange, blue, yellow, turquoise and numerous shades in between. Refreshingly all of the big names typically associated with pop art (Warhol, Lichtenstein, Blake, Hamilton and Hockney) are noticeably absent, and instead the focus is on exploring how different cultures and countries such as Romania, Iran and Bratislava contributed to this phenomenon throughout the 1960’s and ‘70’s. Many common pop art themes are present including the use of mass produced imagery; most notable in the last gallery which is decorated floor to ceiling with Thomas Bayrle’s ‘The Laughing Cow’ wallpaper and displays a series of instantly recognisable logos by Yugoslavian artist Boris Bucan such as BMW, Pepsi, IBM and Texaco amongst others where the brand has been replaced with the word ‘art’, questioning how far art itself has now become a consumerist product? All of the artists on display have utilised popular global imagery to subtly address tougher issues including war, the role of women and sexual liberation, protest and civil rights. Intelligently any political message does not detract from the works as pieces of art in their own right, and I was particularly drawn to three lacquered car bonnets decorated with shapes evoking female genitalia by Judy Chicago, the only woman on an auto-body course of 250 male students. Whilst some of the pieces were not to my taste, and several are now looking a little dated (particularly those created from plastics and polymers), I certainly appreciated the exhibitions’ efforts to widen the publics gaze at pop art and present previously uncelebrated works.

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