What is Pop Art? What is installation art? What is earth art? How are they fundamentally different from traditional art forms?

Pop Art: Just as Abstract Expressionism was gaining popularity in the United States, it was suggested that the innovation of Abstract Expressionism, which relied entirely on canvas and color, was both a step forward and a step backward because it did not go beyond the traditional degree of pure painting, and so a part of the artists got the revelation from the Dadaists that the physical objects of life were also art. They began to boldly experiment with materials, adopting the method of picture and patchwork, or simply using a collection of objects to break down the boundaries between the various categories of art, art and life, as a substitute for the exhaustion of the vitality of the abstract expressionism, which is Pop Art.

An art that began to flourish in the United States around 1960 and was soon popularized in Britain and Europe, the word Pop, meaning popular, popular, was proposed by the British art critic Arauwai, who named the art of utilizing popular images as a general term, which was later accepted by the critics and widely adopted. In the early 1960s, large-scale Pop Art exhibitions were held in London and then in New York, and the earliest work of Pop Art may be the photo collage "What Makes Our Homes Today So Different and Attractive" by the British artist Hamilton, in which a haughty nude woman in a modern apartment and a man in a bodybuilding posture are looking out of the painting, and the man is holding a tennis racket with Pop printed on it. Pop art has a variety of expression methods, but its objects can be divided into two categories: one is to daily life tools as the object, and the other is to the pictorial newspaper, comic strips, movie stars and celebrities photographs are copied, widely exhibited and distributed. Therefore, Pop Art is characterized by cheapness, ostentation, transience, mass production and quick popularity.

Installation art: It is an art form in which the artist, in a specific time and space environment, selects, utilizes, transforms, and combines artistically and effectively the consumed or unconsumed material and cultural entities in the daily life of mankind, so as to interpret them in a new way that demonstrates the rich spiritual and cultural connotations of the individual or a group of people. Simply put, installation art is a comprehensive display art of "site + material + emotion".

The development of installation art, like the development of other arts, is subject to a variety of single and composite concepts, and is also driven by the accumulation of its own development experience. Installation art is becoming more and more diversified and complex in terms of content, subject matter, cultural orientation, art in place, value positioning, emotional flow, and methods of operation.

Earth art is a late modernist art activity active in the United States in the 1960s, which can be said to be between engineering and sculpture, architecture and landscape, art and nature between a kind of marginal concepts, but also an absurd anti-art phenomenon. It is also an absurd anti-art phenomenon. In addition to imitating the conceptual art and rejecting the entity of the work, it does not need a buyer but only a sponsor, and the size, material, form, and values of the work have long since broken with the traditional concepts, and are indifferent to the definition of art, and they generally take the vast earth, fields, beaches, valleys, and lakes as the material of art, and transform a certain part of the appearance of the natural world by means of large-scale excavation, stacking, coloring, parceling, and constructing. By massively excavating, stacking, coloring, wrapping, and constructing a part of nature's appearance, the artist attempts to create a kind of environmental art that is huge in size, unacceptable to museums, and never appropriated.

The difference between traditional art and traditional art is that traditional art is based on the ancient, and there are only changes in technique, but no qualitative changes. And these arts have qualitative changes. All of them use new materials that develop with the times. It fully reflects the multiculturalism.

Yuan four: First, Huang Gongwang (1269-1354) word Zijiu, No. Dazhidaooren, Changshu, Jiangsu Province, in his middle age as a mandarin, and then for the prison, after release, the activities of Fuchun, Zhejiang and Jiangsu Province, Hangzhou, Songjiang, and other places. Second, Wu Zhen - (1280-1354) word Zhonggui, No. Plum Blossom Taoist, Jiaxing, poetry and literature, good cursive, good at painting landscapes, bamboo, family poverty heirloom works have "fishing father".

Three - Wang Meng (?

Three is - Wang Meng (? - 1385) word Shuming, Huzhou people Zhao Meng "Fu" character of the traditional - fu that is, the great calligrapher of the good line of the book that, the word here I can not type out this input method. It is the grandson of this person, at the end of the Yuan Dynasty had been a small official, and then lived in seclusion.

Four - Ni Zan (1301-1374) word Yuan Zhen, No. Yunlin, Wuxi, whose family is a rich family in Jiangnan, believing in Quanzhen religion, built a garden Xuange, works such as the "Fisherman's Village Autumn Settlement Figure"

"Four" landscape Heavy on the ink and brush, style, but still have a certain landscape based. They express certain ideals through the landscape, and the inscription of poetry to elaborate. The form of heavy ink and water, or slightly light color light red, forming a different look, but the mood is mostly sadness, indifference, solitude, reflecting the mood of the era of turmoil in the inescapable. Their artistic outlook and style of painting, especially on the development of literati painting in the Jiangzhe region of the Ming Dynasty had a huge impact.