From Ice-Block Action to Peanut-Butter Floor. Belgian and Dutch Pop Art since the 1960s
(Marc Holthof) The Low Countries – 2017, № 25, pp. 64-73
In the careers of most Belgian and Dutch artists, pop art was no more than an episode, a stop along the way. This was the case for the Panamarenko-Heyrman duo and for Broodthaers. Carl Jacobs demonstrates that it was also true of Jef Geys and even of Roger Raveel and Raoul de Keyser, artists you would not normally associate with pop art. You find the same phenomenon in the Netherlands: Daan van Golden was very closely associated with pop art for a time, but then went his own way. Jan Cremer pursued his ‘pop art made in Holland’, but remained best known as the author of controversial bestsellers. The influence of pop art can still be felt in the younger generations. It would be hard to imagine the work of Van Lieshout, Leo Copers, Wim Delvoye, Guillaume Bijl, Ria Pacquée, Hugo Roelandt or Anne-Mie Van Kerckhoven without the influence of pop art. It is also present in the unclassifiable oeuvre of Wim T. Schippers.
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