RARE "Pop Artist” Lawrence Alloway Hand Signed 2.5X5 Card for Sale

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RARE "Pop Artist” Lawrence Alloway Hand Signed 2.5X5 Card For Sale

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RARE "Pop Artist” Lawrence Alloway Hand Signed 2.5X5 Card:
$399.99

Up for sale a RARE! "Pop Art" Lawrence Alloway Hand Signed 2.5X5 Card.

September 1926 – 2 January 1990) was an English art critic and curator who worked in the United States from 1961. In the

1950s, he was a leading member of the Independent Group in

the UK and in the 1960s was an influential writer and curator in the US. He

first used the term "mass popular art" in the mid-1950s and used the

term "Pop Art" in the 1960s to indicate that art has a basis in

the popular culture of its day and takes from it a faith in the power of

images. From 1954 until his death in 1990, he was married to the painter Sylvia Sleigh. Between 1943 and 1947, Alloway studied art history at the University of London,

where he met the future critic and curator David Sylvester. Alloway wrote short book reviews for the

London Times in 1944 and 1945, at which

time he was between 17 and 19 years old. Alloway started writing reviews for

the British periodical Art News and in 1949 and for the

American periodical Art News in 1953. In Nine Abstract Artists (1954)

he promoted the Constructivist artists

that emerged in Britain after the Second World War: Robert Adams, Terry Frost, Adrian Heath, Anthony Hill, Roger Hilton, Kenneth Martin, Mary Martin, Victor Pasmore, and William Scott.Alloway's

theory of art reflecting the concrete materials of modern life gave way to an

interest in mass-media and consumerism. Alloway joined the Independent Group in

1952 and lectured on his theory of a circular link between popular cultural

"low art" and "high art". From 1955 to 1960 he was

Assistant Director of the Institute of Contemporary Arts in London. He organised

the exhibition Collages and Objects (1954). In 1956 Alloway

contributed to organising the exhibition This Is Tomorrow. When reviewing that show and other works

he had seen on a trip to the US in a 1958 article, he first used the term

"mass popular art". In 1961, through his contacts with the American

painter Barnett Newman, Alloway

was offered a lecturer position at Bennington College in Vermont. He and his wife, the realist painter Sylvia Sleigh, lived in Bennington for only

one year before Alloway was appointed curator at the Solomon R. Guggenheim

Museum in New York City, a position he held until 1966. In 1963 he

organised the pop art show, Six Painters and the Object. He chaired

the jury of the 1964 Guggenheim Awards, one of which was refused by the

painter Asger Jorn. In

1966, Alloway curated the influential Systemic Painting exhibition

that showcased geometric abstraction in

American art via Minimal art, Shaped canvas, and Hard-edge painting. He

coined the term Systemic Art to

"describe a type of abstract art characterized by the use of very simple

standardized forms, usually geometric in character, either in a single

concentrated image or repeated in a system arranged according to a clearly

visible principle of organization".Alloway was also an ardent supporter

of Abstract such as Roy Lichtenstein, Claes Oldenburg, and Andy Warhol. He resigned from the Guggenheim after Thomas M. Messer, the museum's director, overruled mostly of sculptures—for the upcoming Venice Biennale. In 1966-67, Alloway was appointed

visiting professor at the School of Fine Arts at Southern

Illinois University Carbondale, where John McHale and Buckminster Fuller were

also on staff. In the 1970s, Alloway wrote for The Nation and Artforum, and lectured at the State

University of New York, Stony Brook where he was appointed

professor of art history. There he

co-founded the magazine Art Criticism with the critic Donald Kuspit. With the rise of the feminist art movement,

Alloway championed the work of women; he noted, for example, "a 3-to-1

advantage" of men over women in the Whitney Annual in

1977. Concerning the origins of the term Pop Art, Alloway said, "The term, originated in England

by me, as a description of mass communications, especially, but not

exclusively, visual ones." In a footnote to his essay Pop Art the words, he also states, "The first

published appearance of the terms that I know is: Lawrence Alloway, 'The Arts