Since the mid-1960s, British and American pop artists, such as Brian Wilson, Phil Spector, and The Beatles, have begun to incorporate the ideas of pop art movement while recording music.British art-pop musicians took inspiration from their studies from the Academy of Fine Arts, when in America art-pop relied on the influence of pop art by artist Andy Warhol and the group The Velvet Underground affiliated to him, and also intersected with the movement of singers and songwriters of folk music. Art-pop experienced its “golden age” in the 1970s thanks to such performers as David Bowie and Roxy Music, whose works embraced theatricality and disposability of pop culture.
In the late 70s and 80s, the traditions of art-pop music were continued in genres such as post-punk and synth-pop, as well as in the British scene of romance, developing further with musicians who abandoned traditional rock instruments and musical structure in favor of dance music and synthesizer. In the 2010s, new trends in art pop emerged, such as hip-hop artists, drawing on visual art and vaporwave artists exploring the
feelings of modern capitalism and the Internet.
Art-pop as a genre emerged from the collapse of postmodernism based on elite non-elite art with elements of contemporary problems of art-pop artists in terms of sociological interpretation and historical authenticity,
while drawing inspiration from the concept of artificiality and commerce.
In contrast to the romantic and autonomous tradition of art and progressive rock, this genre emphasizes manipulation with different symbols and signs, based on the aesthetics of everyday and disposable.
Music sociologist Simon Frith distinguished the appropriation of art to pop music as a particular concern for fashion, gesture and ironic use of historical eras and genres. The central part for such practitioners of style
distributors was the concept of themselves as work on construction or art, as well as a preoccupied desire to create different terms, images, processes and influences. Nick Coleman from The Independent wrote the
following: “Art-pop partly concerns attitude and style, but it also concerns art itself. It is, if possible, a way to make pure formalism socially acceptable in a pop context.”
The bodybuilder theorist Mark Fisher wrote that the development of art pop music evolved from the triangulation of pop music, art and fashion. At the same time, Simon Frith argues that it was “more or less” inspired directly by pop art (musicologist Allan Moore suggests that the term “pop music” may have originated from pop art). According to critic Stephen Holden, art pop often refers to any pop style that consciously seeks to formalize the values of classical music and poetry, even though these works are often sold in the interests of commerce rather than respected cultural institutions. Writers from The Independent and Financial Times noted attempts by art pop music to distance the audience from the general public.
Prehistory
In the second half of the 20th century, the boundaries between art and pop music became more blurred. In the 1960s, pop musicians such as John Lennon, Syd Barrett, Pete Townshend, Brian Eno and Brian Ferry
began to draw inspiration from their studies of art school in the past. Simon Frit claims that in the UK, the art school was a “traditional evacuation route for bright children of the working class, as well as a breeding ground for young groups such as The Beatles and above.”
Art-pop in North America was influenced by Bob Dylan and the beat generation and became more literary thanks to the movement of the singer and songwriter folk music. Even before art / progressive rock became the most commercially successful British sound in the early 1970s, the psychedelic movement in the 1960s combined art and commercialism, clarifying the question of what it means to be an “artist” in the mass media. . The musicians of progressive music believed that artistic status depended on personal autonomy, and therefore the strategy of “progressive” rock groups was to present themselves as performers and composers “above” ordinary pop activities.
Another major influence on the development of art pop was a new movement in art known as pop art. The term “pop art” itself was first coined to describe the aesthetic value of mass-produced goods and was
directly applicable to the modern phenomenon of rock and roll music (including Elvis Presley, an icon of early pop art). According to Simon Frith: “Pop art turned out to be a signal of the end of romanticism - to be art without artists. Progressive rock was the last step of the Bohemians ...
In this context, the key theorist of pop music was not Richard Hamilton or any other British artist who, despite their interest in the mass market, remained only an academic fan, but Andy Warhol. For Warhol, a significant problem was not the relative merits of "elite" and non-elite "art, but the relationship between all art and" commerce "as a whole." The American group The Velvet Underground, whose protege was Warhol, imitated the synthesis of art and pop music inherent in Warhol, echoing his emphasis on simplicity and innovative modernist avant-garde approach to art rock, which ignored traditional hierarchies of artistic representation.
1960s: Emergence
Stephen Holden traces the origins of pop music in the mid-1960s, when producers such as Phil Spector and musicians such as Brian Wilson from The Beach Boys, began to include pseudo-symphonic textures in their
pop records (both are Americans), and The first recordings of The Beatles with the participation of a string quartet.
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