Editing Pop art (section)

==United Kingdom: the Independent Group==
[[File:Hamilton-appealing2.jpg|thumb|left|[[Richard Hamilton (artist)|Richard Hamilton]]'s collage ''[[Just what is it that makes today's homes so different, so appealing?]]'' (1956) is one of the earliest works to be considered "pop art".|alt=A collage of many different styles shows a mostly naked man and woman in a house.]]

The [[Independent Group (art movement)|Independent Group]] (IG), founded in London in 1952, is regarded as the precursor to the pop art movement.<ref name="pop" /><ref name="mod">Arnason, H., ''History of Modern Art: Painting, Sculpture, Architecture'', New York: Harry N. Abrams, Inc. 1968.</ref> They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well as traditional views of fine art. Their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. At the first Independent Group meeting in 1952, co-founding member, artist and sculptor [[Eduardo Paolozzi]] presented a lecture using a series of [[collage]]s titled ''Bunk!'' that he had assembled during his time in Paris between 1947 and 1949.<ref name="pop" /><ref name="mod" /> This material of "found objects" such as advertising, comic book characters, magazine covers and various mass-produced graphics mostly represented ''American'' popular culture. One of the collages in that presentation was Paolozzi's ''[[I was a Rich Man's Plaything]]'' (1947), which includes the first use of the word "pop", appearing in a cloud of smoke emerging from a revolver.<ref name="pop" /><ref>{{cite web|url=http://www.tate.org.uk/art/artworks/paolozzi-i-was-a-rich-mans-plaything-t01462 |title='I was a Rich Man's Plaything', Sir Eduardo Paolozzi |publisher=Tate |date=2015-12-10 |access-date=2015-12-30}}</ref> Following Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertising.<ref name="high" />

According to the son of [[John McHale (artist)|John McHale]], the term "pop art" was first coined by his father in 1954 in conversation with [[Frank Cordell]],<ref name="Warholstars.org">{{cite web|url=http://www.warholstars.org/articles/johnmchale/johnmchale.html |title=John McHale |website=Warholstars.org |access-date=2015-12-30}}</ref> although other sources credit its origin to British critic [[Lawrence Alloway]].<ref>"Pop art", ''A Dictionary of Twentieth-Century Art'', Ian Chilvers. Oxford University Press, 1998.</ref><ref>"Pop art", ''The Concise Oxford Dictionary of Art Terms'', Michael Clarke, Oxford University Press, 2001.</ref> (Both versions agree that the term was used in [[Independent Group (art movement)|Independent Group]] discussions by mid-1955.)

"Pop art" as a moniker was then used in discussions by IG members in the Second Session of the IG in 1955, and the specific term "pop art" first appeared in published print in the article "But Today We Collect Ads" by IG members [[Alison and Peter Smithson]] in Ark magazine in 1956.<ref>Alison and Peter Smithson, "But Today We Collect Ads", reprinted on page 54 in ''Modern Dreams The Rise and Fall of Pop'', published by ICA and MIT, {{ISBN|0-262-73081-2}}</ref> However, the term is often credited to [[United Kingdom|British]] [[art critic]]/[[curator]] [[Lawrence Alloway]] for his 1958 essay titled ''The Arts and the Mass Media'', even though the precise language he uses is "popular mass culture".<ref>Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, February 1958.</ref> "Furthermore, what I meant by it then is not what it means now. I used the term, and also 'Pop Culture' to refer to the products of the mass media, not to works of art that draw upon popular culture. In any case, sometime between the winter of 1954–55 and 1957 the phrase acquired currency in conversation..."<ref name="Honnef">[https://books.google.com/books?id=KRtCl1nFSV8C&dq=%22term+pop+art%22&pg=PA6 Klaus Honnef, ''Pop Art''], [[Taschen]], 2004, p. 6, {{ISBN|3822822183}}</ref> Nevertheless, Alloway was one of the leading critics to defend the inclusion of the imagery of mass culture in the fine arts. Alloway clarified these terms in 1966, at which time pop art had already transited from art schools and small galleries to a major force in the artworld. But its success had not been in England. Practically simultaneously, and independently, New York City had become the hotbed for pop art.<ref name="Honnef" />

In London, the annual [[Royal Society of British Artists|Royal Society of British Artists (RBA)]] exhibition of young talent in 1960 first showed American pop influences. In January 1961, the most famous RBA-''Young Contemporaries'' of all put [[David Hockney]], the American [[R B Kitaj]], New Zealander [[Billy Apple]], [[Allen Jones (sculptor)|Allen Jones]], [[Derek Boshier]], [[Joe Tilson]], [[Patrick Caulfield]], [[Peter Phillips (artist)|Peter Phillips]], [[Pauline Boty]] and [[Peter Blake (artist)|Peter Blake]] on the map; Apple designed the posters and invitations for both the 1961 and 1962 Young Contemporaries exhibitions.<ref name="Barton 2010 11–21">{{cite book|last=Barton|first=Christina|title=Billy Apple: British and American Works 1960–69|year=2010|publisher=The Mayor Gallery|location=London|isbn=978-0-9558367-3-2|pages=11–21}}</ref> Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same year. Apple and Hockney traveled together to New York during the Royal College's 1961 summer break, which is when Apple first made contact with Andy Warhol – both later moved to the United States and Apple became involved with the New York pop art scene.<ref name="Barton 2010 11–21" />