Summary of the Report

Pop Art became a trend between late 1950s to early 1960sIt was in part a reaction against the
emotional seriousness and introspection of Abstract Expressionism, which had been affected by
the experience of the Second World War. The term ‘Pop Art’ was coined in 1954 by the British-
born critic and curator Lawrence Alloway. After the intensity of Abstract Expressionism, Pop
Art favoured irony and impersonal techniques in the creation of art works, as well as a return to
figurative painting. Pop Artists used bold, flat colors and hard edge compositions adopted from
commercial designs like those found in billboards, murals, magazines, newspaper.

Op Art is the short term for optical art that originated in the 1960's. It was first called “kinetic
art” (art which moves) because some of the art actually moved or appeared to move because of
the way the designs play tricks on our vision—it uses optical illusions. Op art works are abstract,
with many better known pieces created in black and white. Typically, they give the viewer the
impression of movement, hidden images, flashing and vibrating patterns, or of swelling or
warping. Victor Vasarely is considered the father of Op Art. Vasarely explored visual illusions,
and combined geometric elements with color and value to result in optical illusions.

Environmental Art movement is considered to have emerged from the political and social
turbulence of the late 1960s and early '70s. Artists were inspired by new understanding of
environmental issues and ecological theory as well as by the urge to work outdoors in non-
traditional spaces. Since these early beginnings, the field of Environmental Art has grown
dramatically into a diverse global cultural movement that has expanded the role of art and artists
in society. “Environmental Art” is an umbrella term that refers to a wide range of work that helps
improve our relationship with the natural world. Many artistic practices such as land art, eco-art,
and art in nature as well as related developments in social practice, acoustic ecology, slow food,
interaction design, bio-art and others can be considered to be part of this larger cultural shift.

Conceptual Art can be thought to have begun in the early 20th Century, but it was originated in
the 1960s. Basically, conceptual art places its emphasis on the ideas of the work of art as its
primary identity, rather than the object itself. Conceptual artists link their work to a tradition
of Marcel Duchamp, whose readymades had rattled the very definition of the work of art. Like
Duchamp before them, they abandoned beauty, rarity, and skill as measures of art. Conceptual
artists recognize that all art is essentially conceptual. In order to emphasize this, many of them
reduced the material presence of the work to an absolute minimum - a tendency that some have
referred to as the "dematerialization" of art.

Installation Art is a broad term applied to a range of arts practice which involves the installation
or configuration of objects in a space, where the totality of objects and space comprise the
artwork. It is a mode of production and display of artwork rather than a movement or style.
Installation art can comprise traditional and non-traditional media, such as painting, sculpture,
readymades, found objects, drawing and text. The experience for the viewer of Installation Art is
very different from more traditional artwork. Installation artists are more concerned with
the presentation of their message than with the material used to present it. However, unlike 'pure'
conceptual art, which is supposedly experienced in the minds of those introduced to it,
installation art is more grounded and remains tied to a physical space.