The influence of Pop art on furniture design during the 1960s was so obvious that it is surprising to find the term, “Pop Furniture” never mentioned before in history. In fact, it is quite difficult to define Pop furniture not only because nobody has ever specified it in the past, but also because even Pop art itself has so many different characteristics and purposes depending on each artists portraying them. Cara Greenberg, in his book “Op to Pop”, introduces two major ways to distinguish them: some by a “specific pop-cultural reference”, and others through “simply bright primary colors, basic geometries, or oversized scale, which are links to Pop impulse”
Lounge furniture by Roberto Sebastian (1965)
Second, Pop furniture ‘pops up’ with its bold color usage and minimalistic design, just like Pop art never forgot to give an accented focal point to its viewers. Pop art, regardless to its simple and superficial characteristics, hardly allows the viewers to get lost or bored when examining it. At first glance, it strikes you with its own stylistic or color identity, but the rest of the interpretation remains solely yours, without any restrictions or guidelines. The example of Pop furniture that especially cares about the consumer’s personal taste or playfulness may be the Malitte lounge furniture by Roberto Sebastian, manufactured in 1965. The materials involved in production were polyurethane foam and wool. An interesting fact was that the five separate slices of the blobby looking furniture came together to a single, perfect cube. The chairs’ light weight and free forms let the user arrange them however they want, and create a personalized space. These ideas fit into the basic concept of Pop art, which highlights itself as well as its surroundings through novelty and faddishness. When I saw this “jigsaw puzzle of foam”
Inflatable furnitures (1960s)
Third, the continuous discovery of new materials and the effort to define the fundamental purpose of art influenced Pop art as well as the Pop furniture to become a temporary statement without a demand for sustainability or permanency. The materials discovered and used during the 1960s as a rebellion against an accepted style included “plastics, metallic fibers, and even paper”. If the most popular design among the youth group in the disposable fashion market was the temporary mini paper dress, there was the air-inflatable furniture in the home business. “Blow-up furniture was a direct outgrow of the utopian pneumatic architecture movement”
The Pop furniture, furniture designs in 1960s directly or indirectly influenced by Pop art movement, was a direct translation of Pop art’s focus on everyday living into an object. Due to a very intimate relationship between furniture and our life-style, it is not an overstatement to say that furniture from the 60s was the most practical version of living Pop-art. As a reaction to the mass culture of Post World War II era, Pop furniture constantly made a clear statement and led disoriented hearts along the path of restoration through use of bold, symbolic colors and various kinds of materials to fit the needs of industry as well as the consumers. In conclusion, Pop furniture was a retranslation of “popular mass culture” through its own minimalistic but bold style, in a faddish attitude that resembled the consumers’ materialistic minds in the 1960s.
Works Cited:
- Lawrence Alloway, American Pop Art (Whitney Museum of American Art, NY: Collier Macmillan Publishing, 1974)
- Cara Greenberg, Op to Pop: furniture of the 1960s (Italy: Bulfinch Press, 1999)
- Peter Dormer, Design Since 1945 (NY: Thames & Hudson Inc., 1993)
- Trendir: Home Decorationg Trends Magazine (http://www.trendir.com/archives/000179.html)
- Wilmette Historical Museum: Disposable Paper Dress and Design Trend of 1970s. (http://www.wilmettehistory.org/costumes/1967.html)
15 comments:
hi, thanks for mentioning my book, Op to Pop, in your blog, but I am female, not a "he."
why did you stop blogging? keep up the good work!
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