The world of fine art owes much to mass media, and mass media owes much to fine art. It is debatable whether or not we should make a distinction between the two, and if there is a distinction where we should draw the line. However, the landscape of art would not be the same without the influence of comics, film, magazines, advertisements, and other mass produced visual works.
When it comes to taking pulp fiction sources and situations of comic culture, the first name that comes to mind is Roy Lichtenstein. His paintings are remarkable not just for pulling out the intricacy and exactness of a machine process (such as the thousands of geometrically perfect dots) but also pulling out the snapshots of action scenes, social situations and emotional highlights out of comic panels without context. This added a layer of ambiguity — and tongue-in-cheek parody — to what was considered to be crass and artless media.
This concept is certainly not something that died out in the middle of the 20th century. It continues to influence artists to this day and perhaps we are in the greatest flowering of pop influenced art, given that there are more media sources such as video games and the internet. The movement is especially prevalent in Southern California, where many artists are influenced by urban street art, hip-hop, skateboarding, tattooing, and automobile culture. Publications such as Juxtapoze and High Fructose are at the cutting edge of much underground art and often feature works that also transforms and comments upon mass produced media.
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