History Formation, early years and Vancouver (2004–2007)

1.5 Somewhere at the Bottom of the River re-issue and Panorama (2018–present).

1.4 Rooms of the House and departure from No Sleep Records (2013–2017).

1.3 The Worth of the World, Never Come Undone and Wildlife (2010–2012).

I, II & III and Somewhere at the Bottom of the River Between Vega and Altair (2008–2009)

1.1 Formation, early years and Vancouver (2004–2007).

Panorama, their fifth studio album, was released on March 22, 2019, almost exactly five years later. Their fourth studio album, Rooms of the House, was released on March 18, 2014.

(2009), The Worth of the World (2010) and Never Come Undone (2011) then followed before releasing their third studio album, Wildlife (2011). Their second studio album Somewhere at the Bottom of the River Between Vega and Altair was released in conjunction with Here, Hear II. The band released their debut album, Vancouver, in 2006 on Friction Records and then temporarily signed to Forest Life records where they released Here, Hear. The current lineup is vocalist Jordan Dreyer, drummer Brad Vander Lugt, guitarist Chad Morgan-Sterenberg, guitarist Corey Stroffolino and bass guitarist Adam Vass. More specifically, a work like Warhol’s ghostly screenprint of Marilyn Monroe in reversed black-and-white, created about 1978, takes on enhanced meaning next to Hirst’s photogravure etching of a bejeweled skull from thirty years later, Memento: Victory over Death.įirst Interstate BancSystem Foundation, Inc.La Dispute is an American post-hardcore band from Grand Rapids, Michigan, formed in 2004. For example, Lichtenstein’s hallmark Pop style derived from comic strips holds analogies both with Julian Opie’s characteristic simplifications produced by computer-software manipulation of photographs, and with Murakami’s Superflat aesthetic associated with Japanese manga and anime. Notably, the relatively small number of works by women underlines how cultural norms caused Pop (as well as most twentieth-century artistic movements, and then Neo-Pop, too) to be dominated by male artists and critics.Ĭombining the work of these different generations in one exhibition fosters a greater appreciation of the strategies, techniques, and approaches common to both, as well as the sometimes subtle differences between them. POP Power includes a lithograph by Saint Phalle from the Schnitzer Family Foundation, which has been supplemented in the introductory space of the exhibition by three of the artist’s inflatables in the collection of the Taubman Museum of Art. Van Bruggen created many collaborations with her husband, Oldenburg, one of which is included in the show (the sculpture Profiterole). Finally, we should note the two sole female artists in the exhibition, Niki de Saint Phalle and Coosje van Bruggen. Keith Haring, who helped popularize graffiti art through his exuberant visual language, represents a singular transitional figure though he is generationally situated with the Neo-Pop artists, he met and was mentored by a still active Warhol in the 1980s, before dying at the young age of thirty-one from AIDS. In the contemporary realm, Donald Sultan’s brand of Neo-Pop comprises individual technical expression that sometimes moves his art toward a subtle Neo-Expressionist feel. For instance, Robert Indiana’s single work in the exhibition, the monumental LOVE tapestry, represents one of the most iconic compositions in the history of Pop art, yet Indiana himself held reservations about being labeled as a Pop artist. The exhibition features other artists as well who are either less well known or might hold looser associations with the Pop and Neo-Pop realms. POP Power focuses on leaders from both Pop (Warhol, Lichtenstein, and Rosenquist) and Neo-Pop (Koons, Hirst, and the Japanese master of the Superflat style, Murakami), presenting several works by these artists from different moments in their careers and thus allowing a glimpse at their individual evolution.

Jordan logo pop art