Museum of pop art coming soon
The Museum of Pop Art
Experience the Power of Artistic Expression
The Museum of Pop Art
Museum of pop art coming soon
The Museum of Pop Art
The Museum of Pop Art
The collection for the Museum of Pop Art was carefully acquired over the course of 50 years. I was fortunate enough to know all of the Central Pop Artists personally, over a long period of time. I had taken my MFA with John Ashbery, who is considered by most including myself to be the most significant art critic in the history of the United States. With John, I was able to access many artists and that just proliferated as I wrote books about art and took pictures of many important pop artists as well.
My portraits were published in Time magazine, Village Voice, Vanity Fair and several other magazines increasing my access to artists. The works in the collection include the European Masters Picasso, Miro, Chagall, Matisse and Dali as well as Precisionists Stuart Davis and Ralston Crawford, and the abstract expressionist Willem de Kooning,. Moving into the core of the collection are works by Robert Indiana, Andy, Warhol, Roy Lichtenstein, Tom Wesselman, Claus Oldenburg, and James Rosenquist . Following that are works by the Satellite Pop Artists lead by Bob Rauschenberg, Jasper Johns and Larry Rivers as well as Alan D’Arcangelo George Segal , Ray Johnson and Photorealists Richard Estes, Robert Cottingham and Charles Bell, among others. The Post Pop Pop Artists include my longtime friend Ron English, Jeff Koons, Kaws, Crash, Keith Haring, Longo, Sultan and Jean-Michel Basquiat.
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The influences on the Pop artists came from two directions paralleling Freud‘s theory about positive and negative reactions. On the left hand, you had abstract expressionism which the Pop artists rejected as the studied opposite of drips and brushstrokes on canvas. Once when I was with Andy Warhol, I said to him “What are you doing?” whi
The influences on the Pop artists came from two directions paralleling Freud‘s theory about positive and negative reactions. On the left hand, you had abstract expressionism which the Pop artists rejected as the studied opposite of drips and brushstrokes on canvas. Once when I was with Andy Warhol, I said to him “What are you doing?” while he was using a mop tp create some kind of abstract art. He said “Well you know the thing about abstract art is it doesn’t mean anything.”.
The new fruit bowl from Warhol‘s point of view was Campbell Soup Cans, the new American nude is what Wesselmann was after, the Lichtenstein was benday art, Indiana in some ways a sloganeer- all reacting to Abstract Expressionism. But the second influence on Pop was a connection back to American Art of Precisionism, the work of Demuth, Stuart Davis, Hartley and Crawford which got sidetracked by abstract expressionism. In many ways, the Pop is a continuity of that form of painting. A third influence, or more accurately a push, came from the fact that many of the Pop artist resented that the ground floor retail art galleries in America focused, almost exclusively, on European art. Picasso, Dali, Chagall, Miro and Matisse were all over the United States in the early 60s and you didn’t see much Lichtenstein, Warhol, Dine, or Indiana - or any American Art for that matter. Both the retail art landscape and the auctions were dominated by the Europeans and Warhol, among others, wanted to cure that problem. Andy made sure that he had references to Picasso as did Indiana and Andy got pictures with Salvatore Dali because he wanted celebrity as did it all the Pop artists.

Like Impressionism, Pop had a core of important painters, some of them also making Sculpture, who defined what Pop was and where it was going. That Core consisted of six important artists: Warhol, Lichtenstein, Indiana, Rosenquist Wesselmann and Oldenburg. I called those the big six because in all the Pop exhibitions that toured the world
Like Impressionism, Pop had a core of important painters, some of them also making Sculpture, who defined what Pop was and where it was going. That Core consisted of six important artists: Warhol, Lichtenstein, Indiana, Rosenquist Wesselmann and Oldenburg. I called those the big six because in all the Pop exhibitions that toured the world in the 60s, there were often 10 to 12 artists but consistently those six individuals were in the important shows, whether it was in New York, Los Angeles, Stockholm, Paris, London or elsewhere. These were the six artists that were hard-core Pop, the principal members of the Pop Art Club if you call it that.

Surrounding the six major Pop artists, similarly to Impressionism where you had Monet, Manet, Renoir, Degas, Pissaro, Sisley with a large cast around them, there were dozens of important artists sometimes identified with Pop and sometimes identified with other genres, Many became as important as the Pop Core, and there were thousands an
Surrounding the six major Pop artists, similarly to Impressionism where you had Monet, Manet, Renoir, Degas, Pissaro, Sisley with a large cast around them, there were dozens of important artists sometimes identified with Pop and sometimes identified with other genres, Many became as important as the Pop Core, and there were thousands and thousands of people who were making Pop art who just didn’t turn the corner into the rarified air of the Museum world. Among the many people that were pivotal and important to Pop art although not quite Central Pop artists themselves are Robert Rauschenberg, Jasper Johns, Larry Rivers, Jim Dine, Christo, Charles Bell, Richard Estes, Robert Cottingham, Chuck Close, Jonathan Borofsky, Ray Johnson, Alex Katz Ed Paschke, John Baldessari, Ed Ruscha, Frank Stella, David Hockney, George Segal and Alan D’Arcangelo. These are all very important artists who were sometimes included into big Pop shows and had great careers as well.
At some point, we may want to turn to International Pop at which point you quickly end up in London with some very important artists. It’s also possible that I will include some of those great artists right at the beginning. Those who stand out to me from London, of course David Hockney, who probably should be considered in with American Pop because he lived both in New York in LA for a good part of his career and then you also have Patrick Caulfield, who is in many ways the British version of Lichtenstein and is very underrated then Peter Blake as well Richard Hamilton. Those are kind of a big four of London and the Post Pop Pop in London, which we’ll talk about later is also very strong.

Long after the influx of the young Turks of Pop, and circa 2026 all six of the Pop Core have passed on into the pages of Art History, the essence of Pop Art continues. On the streets, the Pop theme resonates in the work of Ron English, Crash, Lady Aiko, Lady Pink, Shepard Fairey, Crash and Lee Quinones among others. Even Banksy essential
Long after the influx of the young Turks of Pop, and circa 2026 all six of the Pop Core have passed on into the pages of Art History, the essence of Pop Art continues. On the streets, the Pop theme resonates in the work of Ron English, Crash, Lady Aiko, Lady Pink, Shepard Fairey, Crash and Lee Quinones among others. Even Banksy essentially continues the work of the Pop performance artists and Allan Kaprow. In the galleries and museums the work of Keith Haring, Jeff Koons, Tom Otterness. Robert Longo, Cindy Sherman, Cecily Brown, Martin Wong, Lorna Simpson and such British artists as Damien Hirst, Julien Opie, Tracey Emin and Jenny Saville carry the Pop legacy.
The Museum of Pop Art will begin with an online website, traveling shows, and a cross section of the collection exhibited in an 1840s barn in Katonah, New York. MOPA includes the facility for American Image Art which published works by Haring, Indiana, Warhol, Wesselman, Cottingham, Bell, English, Katz and many others and will continue to do so in tandem with the Museum of Pop Art. This will allow visitors to see both artworks and the Facility. My intention will be to show kids and adults how silkscreening works and do free lectures on Pop Art and Post Pop Art.

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