|Jonathan De Pas, Donato D'Urbino, Paolo Lomazzi, and Carla Scolari. Blow, 1967|
Where Pop design departs from earlier modernism is in the matter of "taste." Much of it is transgressively bad taste ("camp," as they said in the 60s).
Man Ray's 1936 painting of the Griffith Observatory. Stanley Kubrick wanted to use Jones' porno chairs in A Clockwork Orange. He couldn't secure the rights and had to settle for knock-offs.
"Pop Art Design" includes several figures slotted as mid-century. Pieces by Charles and Ray Eames remind us how fluid art-historical categories are. The Eameses had an appreciation of vernacular sources, evident in their private collection of folk art and in relatively disregarded creations such as the House of Cards.
"Pop Art Design" hints at a story that deserves to be unpacked more fully: how modernism's Nazis slouched towards Pop and irony.