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ラリー・リバーズ (1923-2002)

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Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C. Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C.
キャメルを超えて198098 3/4 x 79 1/4インチ（250.83 x 201.3 cmセンチキャンバスにアクリル絵の具
出所
グロリアルリア、マイアミ、フロリダのコレクションからのプロパティ、アーティストから直接
文学
建築ダイジェスト1984年5月号「ファインアートのためのオーケストレーション」162ページ グロリア＆レナード・ルリアのファインアートコレクションと自宅についての記事の中で
ラリー・リバーズは、ポップアート運動の父と言われています。 リバーズの1980年の作品「Beyond Camel」では、少しピントの合っていないキャメルのシガレット・パックを見ることができますが、これはリバーズがコモディティ化と消費文化への批判を生み出すために消費文化のアイテムとして利用したものです。リバーズは、スチュアート・デイヴィスの作品や、1921年に描かれた煙草のパックを平らにした「ラッキー・ストライク」を意識していたことだろう。リバーズはこの作品をポップアートの視点で解釈していますが、そのイメージはほぼ実物よりも大きく、ブランドイメージはそれ自体が主題として提示されています。

2002年には、ワシントンD.C.のコーコラン・ギャラリー・オブ・アートでリバーズの回顧展が開催された。
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