A major survey of Pop Art from private collections. Published on the occasion of an exhibition of the same title, The Pop Object is the most comprehensive survey of Pop Art to be organized by theme and historical precedents, with such classic works as Andy Warhol’s Brillo Soap Pads, Robert Arneson’s Oreo Cookie Jar, Claes Oldenburg’s Pie à la Mode, Roy Lichtenstein’s Black Flowers, and Wayne Thiebaud’s Gumball Machine. With more than ninety color illustrations, this large-format book brings together the most important examples of works by artists Jasper Johns, Jim Dine, Marisol, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Wayne Thiebaud, Andy Warhol, Tom Wesselmann, and many others, from the 1960s to the present. The still life has often been the stepchild to landscape, history, and figurative painting. By examining themes like food and drink, household objects, flowers, and body parts, noted art historian John Wilmerding emphasizes Pop’s playfulness and brings the history of the movement right up to date.

A science writer and a photographer explore the complicated inner workings of seeming simple everyday objects. What exactly is inside a laptop, a golf ball, a vacuum cleaner, or a novelty singing fish toy? The insides of these and dozens of other objects are revealed in this photographic exploration of the stuff all around us, exposed and explained. With the help of a high-pressure waterjet cutter able to slice through four inches of steel plate, designer and fabricator Mike Warren (creator of the popular Cut in Half YouTube channel) cuts into everything from boom boxes to boxing gloves, oil filters to seashells, describing and demystifying the inner workings and materials of each. With gorgeously detailed photography, Cut in Half is a fascinating and accessible popular science look at the extraordinary in the everyday. Praise for Cut in Half “If you’ve ever wondered what it looks like inside a hair dryer, or a baseball, or a Magic 8-ball, this book is for you. Mike Warren cuts things in half with a high-pressure waterjet cutter and then has an explanation of what you’re looking at inside. . . . One fun feature: the cover of the book itself is “cut in half” along the center.” —GeekDad “A book of mesmerizing photographs of objects that have been perfectly cut in half. . . . Accompanying each photograph are explanations from Warren, who has been doing this for years on his YouTube channel, that walk us through the amazing complexity of the many apparently simple objects.” —Fast Company “Let your device addict explore the fascinating inner workings of common household items with this book from gadget You Tuber Mike Warren.” —Real Simple

Proceedings

An exploration of transformations in the nature of the art object and artistic authorship in the last four decades. In this book, Martha Buskirk addresses the interesting fact that since the early 1960s, almost anything can and has been called art. Among other practices, contemporary artists have employed mass-produced elements, impermanent materials, and appropriated imagery, have incorporated performance and video, and have created works through instructions carried out by others. Furthermore, works of art that lack traditional signs of authenticity or permanence have been embraced by institutions long devoted to the original and the permanent. Buskirk begins with questions of authorship raised by minimalists' use of industrial materials and methods, including competing claims of ownership and artistic authorship evident in conflicts over the right to fabricate artists' works. Examining recent examples of appropriation, she finds precedents in pop art and the early twentieth-century readymade and explores the intersection of contemporary artistic copying and the system of copyrights, trademarks, and brand names characteristic of other forms of commodity production. She also investigates the ways that connections between work and context have transformed art and institutional conventions, the impact of new materials on definitions of medium, the role of the document as both primary and secondary object, and the significance of conceptually oriented performance work for the intersection of photography and the human body in contemporary art. Buskirk explores how artists active in the 1980s and 1990s have recombined strategies of the art of the 1960s and 1970s. She also shows how the mechanisms through which art is presented shape not only readings of the work but the work itself. She uses her discussion of the readymade and conceptual art to explore broader issues of authorship, reproduction, context, and temporality.