Melissa L Mednicov - Pop Art and Popular Music: Jukebox Modernism

Pop Art and Popular Music

This book offers an innovative and interdisciplinary approach to Pop art scholarship through a recuperation of popular music into art historical understandings of the movement. Jukebox modernism is a procedure by which Pop artists used popular music within their works to disrupt decorous modernism during the 1960s. Artists, including Peter Blake, Pauline Boty, James Rosenquist, and Andy Warhol, respond to popular music for reasons such as its emotional connectivity, issues of fandom and identity, and the pleasures and problems of looking and listening to an artwork. When we both look at and listen to Pop art, essential aspects of Pops history that have been neglectedits sounds, its women, its queerness, and its black subjectscome into focus.

Melissa L. Mednicov is Assistant Professor of Art History at Sam Houston State University.

Cover Image: Pauline Boty, My Colouring Book (1963), oil on canvas, 152.4 x 121.9 cm. Collection of Muzeum Sztuki in d.

Source: Pauline Boty Estate/Whitford Fine Art. Image courtesy of Muzeum Sztuki in d.

Routledge Research in Art History

Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research.

For a full list of titles in this series, please visit www.routledge.com/Routledge-Research-in-Art-History/book-series/RRAH

Raymond Jonson and the Spiritual in Modernist and Abstract Painting
Herbert R. Hartel, Jr.

Radical Marble
Architecture and Innovation from Antiquity to the Present
Edited by J. Nicholas Napoli and William Tronzo

Globalizing East European Art Histories
Past and Present
Edited by Beta Hock and Anu Allas

Visual Typologies from the Early Modern to the Contemporary
Local Contexts and Global Practices
Edited by Tara Zanardi and Lynda Klich

Cultural Mobility in the Interwar Avant-Garde Art Network
Poland, Belgium and the Netherlands
Micha Wenderski

Pop Art and Popular Music
Jukebox Modernism
Melissa L. Mednicov

www.routledge.com/Routledge-Research-in-Art-History/book-series/RRAH

First published 2018
by Routledge
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and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business

2018 Taylor & Francis

The right of Melissa L. Mednicov to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data
Names: Mednicov, Melissa L., author.
Title: Pop art and popular music: jukebox modernism / by Melissa L. Mednicov.
Description: New York: Routledge, 2018. |
Series: Routledge research in art history | Includes bibliographical references and index.
Identifiers: LCCN 2018023001 (print) | LCCN 2018023131
Subjects: LCSH: Pop artThemes, motives. | Art and music. | Music in art. | Arts and societyHistory20th century.
Classification: LCC NX456.5.P6 (ebook) | LCC NX456.5.P6 M43 2018 (print) | DDC 709.04/071dc23
LC record available at https://lccn.loc.gov/2018023001

ISBN: 978-0-8153-7420-6 (hbk)
ISBN: 978-1-351-18739-8 (ebk)

Typeset in Sabon
by codeMantra

This book is, in part, developed from my dissertation I Only Have Eyes for You: Three Case Studies in Rock n Roll, Fandom, and Pop Art. My graduate advisor at Pennsylvania State University, Sarah K. Rich, has been instrumental to my development as a scholar, teacher, and writer. I am grateful for her mentorship and guidance then and now. Many of the ideas for this book, along with the term jukebox modernism, were born in conversation with her. I wish to convey my gratitude to my dissertation committee, Sarah K. Rich, Nancy Locke, Madhuri Desai, Brian Curran, and Christopher Reed, for their insights regarding an earlier version of some parts of this project. I am also thankful to Tony Cutler for his insights. Brian Curran inspired me with his love of music, unabashed fandom, sharp intelligence, and kindness. I hope my work here offers one small remembrance of him and his mentorship. I am grateful to Madhuri and Nancy for their continued support. I am thankful to Jenny Gear, Jillian Balay, Janalee Emmer, Laura Sivert, Pierette Kulpa, and Gretta Tritch Roman for their friendship. I am grateful to Marsely Kehoe for her friendship and editorial suggestions. I am grateful to Kelema Lee Moses for her friendship, which includes editorial suggestions in both life and art history.

Research for parts of this book at the dissertation stage was supported by the Pennsylvania State Universitys Department of Art History Spring Dissertation Fellowship, Pennsylvania State Universitys Institute for the Arts and Humanities Graduate Summer Residency, and Pennsylvania State Universitys Waddell Biggart Graduate Fellowship, for which I am grateful. I would like to thank in remembrance William S. Wilson for his generosity to me with his knowledge, time, and materials about Ray Johnson. Additionally, I am grateful to the Mimmo Rotella Archives, and the staffs at the Muzeum Sztuki in d, Tate Museum, Staatsgalerie Stuttgart, British Film Institute, Feigen Gallery, and the Whitworth Art Gallery at the University of Manchester for their assistance. I am also grateful to Sir Peter Blake.

I would also like to express my gratitude to Nancy Princenthal for her advice and editorial suggestions for two chapters while I was the recipient of the 20162017 Art Writing Workshop through the Creative Capital/Andy Warhol Foundation Arts Writers Grant Program and the International Art Critics Association/USA Section (AICA/USA).

I am grateful to the Department of Art at Sam Houston State University for their support of my research throughout this project. I am thankful to the library and interlibrary loan staff at the Newton Gresham Library. Additionally, I would like to thank my colleagues, in particular Michael Henderson and Becky Finley, for their friendship and discussions of my ideas.

My chapter, Pink, White, and Black: The Strange Case of James Rosenquists Big Bo largely comes from my essay Pink, White, and Black: The Strange Case of James Rosenquists Big Bo which was first published by the College Art Association in Art Journal (Spring 2014) 73: 6075. Some parts and ideas included in the Introduction, appeared in earlier forms in my essays, How to Hear a Painting: Looking and Listening to Pop Art, in