TABLE OF CONTENTS

INTERCONTINENTAL DRIFT: GLOBAL POP

Sergio Lombardo, Kennedy, 1963, enamel on canvas, 70 7/8 x 90 1/2".

Pop Art serves to remind us . . . that we have fashioned for ourselves a world of artefacts and images that are intended not to train perception or awareness but to insist that we merge with them as the primitive man merges with his environment. The world of modern advertising is a magical environment constructed to produce effects for the total economy but not designed to increase human awareness.

[. . .]

“Pop Art” is the use of some object in our own daily environment as if it were anti-environmental.

—Marshall McLuhan, “The Relation of Environment to Anti-environment”¹

IT'S DIFFICULT to exaggerate the invasion of culture by commercial brands, billboards, photographs, magazines, and packaging designs beginning in the 1960s. Advertising and its viral propagation on the street, in the home, through print and celluloid, presented an unprecedented aesthetic challenge, marked by

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