TABLE OF CONTENTS

MY POP

Richard Hawkins

I got interested in Pop again a few years back when all my painting students were trying to draw a historical lineage starting with Duchamp but skipping all the way to Ryman, leaving out about forty years of missing (and apparently “just formal”) time. Consequently they all painted “stripes.” What’s intriguing about such a naive discourse is that the foremost purveyors of the readymade—Rauschenberg and Johns—get erased.

Lately, though, I’ve been so involved in looking at and making paintings that Johns, Rauschenberg, Lichtenstein, Rosenquist, and Warhol (to limit Pop to only New Yorkers, Americans, men, and painters) are among the last artists I’d seek out. American Pop painting can be about as interesting as pondering a stop sign. Its particular shade of red or the shapely curve of its “S” are pretty much beside the point. Something crucial regarding the visual (as opposed to the linguistic)

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW at the special holiday rate of $45 a year—70% off the newsstand price. You’ll receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the October 2004 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.