By this time, American advertising had adopted many elements and inflections of modern art and functioned at a very sophisticated level.
Consequently, American artists had to search deeper for dramatic styles that would distance art from the well-designed and clever commercial materials.
They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture as well as traditional views of fine art.
Their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology.
Britain focused on the dynamic and paradoxical imagery of American pop culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a society.
While pop art and Dadaism explored some of the same subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with a detached affirmation of the artifacts of mass culture.
that he had assembled during his time in Paris between 19.
As the British viewed American popular culture imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones.
By contrast, American artists, bombarded every day with the diversity of mass-produced imagery, produced work that was generally more bold and aggressive.
Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s.
The term "pop art" was officially introduced in December 1962; the occasion was a "Symposium on Pop Art" organized by the Museum of Modern Art.