1960s Fashion and art

1. 1960s Fashion and art Era of change Lost Innocence

2. 1960s • The sixties were the age of youth, as70 million children from the post-war baby boom became teenagers and young adults. The movement away from the conservative fifties continued and eventually resulted in revolutionary ways of thinking and real change in the cultural fabric of American life. No longer content to be images of the generation ahead of them, young people wanted change. The changes affected education, values, lifestyles, laws, and entertainment. Many of the revolutionary ideas which began in the sixties are continuing to evolve today.

3. Early 1960s • The 1960's began with crew cuts • on men and bouffant hairstyles on women. Men's casual shirts were often plaid and buttoned down the front, while knee-length dresses were required wear for women in most public places with gloves.

5. Early 1960s

6. Jacqueline Kennedy • The early 60s was dominated in fashion by • First Lady, Jackie Kennedy. She set the style with signature pillbox hat! 

8. Mid to late1960s • Following the assassination of JFK, the nation’s innocence and confidence was shattered. As LBJ initiated his Great Society and escalated Vietnam, society began to slowly rebel and change. The Youth “came into their own as the decade progressed. Self-Expression!

13. Twiggy: The New “Look” • The British Model Twiggy became known for her very “thin” figure and boyish lines. This took the focus away from the ultra-feminine curves of the 50s and early 60s. • It also led to many young girls Confused focus on their body image.

15. Counter-Culture Movement • As the war progressed and the Civil Rights Movement became more militant, young people began to “drop out” and form their own communities and mores – rejecting society including fashion

16. Counter Culture

19. Black is Beautiful and Black Pride • As SNCC became more radical and the Black Panther movement emerged, African-American fashion became more expressive and “natural” in hair and more “African” in expression.

21. New Art Movements • Many artistic impulses began to gain momentum in the mid-1960s: an explosion of consumerism reverberated in the paintings of Andy Warhol and Roy Lichtenstein and in the sculptures of Claes Oldenburg and George Segal, whose works embraced elements of popular culture. • The bravura gestures of 1950s Abstract Expressionism gave way to Minimalist artists such as Ellsworth Kelly, Donald Judd, and Carl Andre, who were exploring distilled forms, colors, and geometries in their work. • Groups of artists, such as those associated with the Fluxus movement, sought the intersection of visual art, performance, music, film, and graphic design, and artists interested in a more democratic approach to art and its dissemination began producing a profusion of prints, multiples, artists’ books, and films.

22. Segal -- Sculpture

23. Claes Oldenburg

24. Pop Art – Andy Warhol • In the 1960s young artists in the United States and England made popular culture their subject matter by appropriating images and objects such as common household items, advertisements from consumer products, celebrity icons, fast food, cartoons, and mass-media imagery from television, magazines, and newspapers. These artists also often used forms of mechanical reproduction that downplayed the idea of originality or the individual mark of the artist. The Pop Art style sought to test the boundaries between art and life

25. Pop Art

26. Pop Art • One of the ways Pop Art challenged traditional art was by equating the mass-produced imagery of advertising with fine art. Attracted by the simple, graphic directness of consumer packaging and advertising, Pop artists such as Andy Warhol, took product labels and logos out of a commercial context and displayed them as art. He made sculptures identical to Campbell's soup cans or Brillo boxes. • Aiming to employ images of popular as opposed to elitist culture, Pop Art embraced the kitsch associated with consumerism and mocked brand loyalty and its implicit promise of happiness.

27. "When you think about it, department stores are kind of like museums."—Andy Warhol

29. Pop Art -- Lichtenstein

30. Fluxus Movement

33. Minimalism • Minimalism was an art movement in the 1960s that dominated much of the art practice in the United States, especially in New York. In contrast to Pop artists, Minimalists sought to create pure, geometric, abstract art in which the physical properties of space, scale, and materials were explored as ends in themselves rather than as metaphors for human experience. • Many Minimalist artists used industrial materials such as aluminum, plywood, sheet metal and Plexiglas. This challenged the notion of what constituted “fine art” and shared the Pop artists’ interest in using non-art materials. The spirit of experimentation and pushing the boundaries of art-making was characteristic of the general countercultural sentiment of the 1960s. • “Abstract art has its own integrity, not someone else’s ‘integrations’ with something else. Any combining, mixing, adding, diluting, exploiting, vulgarizing, popularizing abstract art deprives art of its essence and depraves the artist’s artistic consciousness. Art is free, but it is not a free-for-all.”—Donald Judd, 1965

37. Op Art • Many artists working in the 1960s questioned the rules and assumptions of traditional art forms. In particular, artists often sought to test the limits of what could be considered a painting. “Op” artists (short for Optical) were interested in capturing a sense of movement within a stationary two-dimensional plane, such as the surface of a painting. Op artists created optical illusions, often using only black and white paint to impart the impression of pattern, hidden images, flashing, and movement.“ . . . that which is constant or static is an inseparable part of that which changes or moves--in painting they have to be experienced simultaneously."—Bridget Riley • Attempting to elucidate ideas about movement in stationary objects, Bridget Riley began creating striking black-and-white paintings in the 1960s. In Suspension, she uses strategies of contradiction and ambiguity to create her analogy of the rhythms and paradoxes of human psychology. Through multiplication of line carefully calibrated in terms of scale, dimension, angle, and frequency, the artist attempts to suggest a parallel with the structure of human emotion—its "repetition, contrast, calculated reversal, and counterpoint."

39. THE END?? • Don‘t think so. 