Kerusi Afrika (African Chair)

Bukti arkeologi terawal tentang alat duduk di Afrika adalah dari Igbo-Ukwa di Tenggara Nigeria. Pengesanan kayu daripada bangku-bangku ini menunjukkan radio karbon yang bertarikh abad ke-19. Sebilangan bangku batu telah pun muncul di Ife, Tenggara Nigeria walaupun tiada dalam konteks arkeologi. Kerusi-kerusi zaman klasik dipercayai telah diterbitkan antara abad ke-12 hingga ke-15 dan tiada bukti jelas yang menunjukkan alat duduk ini digabungkan dengan kepimpinan. Walaubagamanapun, bukti arkeologi yang lain membuktikan bahawa bangku ini mempunyai peranan yang penting dalam alat kebesaran kepimpinan.

Oleh kerana bangku Afrika lebih kepada keaslian dan pembangunan Afrika, maka terdapat pengaruh yang besar terhadap kerusi stail Afrika – Eropah. Orang Portugis telah memperkenalkan kerusi siku ( elbow chair) kepada Gold Coast pada awal tahun 1481. Bentuk kerusi ini dengan segeranya telah diiktiraf oleh orang Afrika sebagai simbol kuasa dan prestij. Maka, kesimpulannya muncullah penerangan awal tentang Afrika Barat yang mengandungi rujukan kepada kerusi Eropah. Kebanyakan kerusi Afrika berbeza dari segi kayu dan kulit.

Orang Afrika tidak mempertimbangkan kersui dan bangku bagi penggunaan biasa untuk duduk bersama keluarga dan kawan. Di Afrika, bangku dan kerusi dipertimbangkan sebagai objek personal tertinggi dan kebanyakan orang Afrika terkejut apabila kawan, saudara atau orang asing menggunakan kerusi sebagai alat duduk. Di kalangan orang Akan, bangku mempunyai peranan yang penting dan sifat yang suci. Orang Ashanti pula berpendapat bahawa bangku dipertimbangkan untuk personal yang tinggi dan dipercayai menempatkan roh pemilik. Apabila tidak digunakan, bangku akan dicondongkan ke tepi supaya tiada tenaga lain boleh menggunakannnya dan mencemarkan roh pemilik. Bangku seseorang ketua , mempunyai kepentingan tertentu sebab ia mengandungi roh keua dan dipertimbangkan sebagai Tuhan Raja. ( Divine King).

Kumpulan lain yang menyatakan maksud simbolik untuk alat duduk ialah orang Lega. Terdapat alat duduk kepunyaan Lega seperti bangku kaki tiga dan kaki empat yang tidak digabungkan dengan kepimpinan ataupun upacara amal. Bangku Lega dipanggil sebagai bangku Kisumbi yang juga merupakan bahagian yang perlu dalamm permulaan persatuan Bwami. Terdapat upacara yang dikenali sebagai upacara Kisumbi, di mana bangku dijadikan sebagai simbol sentral. Bangku Kisumbi dianugerahkan kepada lelaki apabila dia mencapai tangga kedua tertinggi dalam masyarakat Lega.

Kebanyakan babgku prestij di Afrika tidak semestinya digabungkan dengan upacara amal atau memberikan definisi peranan lelaki dalam masyarakat. Kebanyakan alat duduk menggambarkan moral dan nilai yang dipegang oleh ahlinya. Terdapat beberapa jenis bangku yang menggambarkan peranan wanita dalam masyarakat. Bangku Caryatid dirujuk sebagai bangku pembawa yang telah dijumpai di seluruh Tenggara Zaire, dan mempengaruhi Luba dan Hemba. Status tinggi wanita dalam masyarakat Luba telah digambarkan dalam bangku Caryatid. Kebanyakan bangku Caryatid menggambrakan wanita dan ibu sebagai lebih daripada pemberi hidup. Di setiap kampung, tempat duduk caryatid menunjukkan semua kuasa kembali kepada raja Luba dan menerusi beliau diberikan kepada wanita yang merupakan sumber hidup.

HISTORY OF BICYLE IN TIMELINE

HISTORY OF BICYLE IN TIMELINE:

1418
Giovanni Fontana built the first human powered land vehicle -- it had four wheels and used an endless rope connected via gears to the wheels.

1493
Sketches showing a primitive version of a bicycle, purported drawn by Leonardo da Vinci, surfaced in 1974. Further examination of the drawings indicates these are not by da Vinci's hand. The speculation that these are a sketch by a pupil after a lost drawing by da Vinci is also considered false. An age test was performed, but the library in Milan (belonging to the Vatican) conceals its negative outcom.

1791
Comte de Sicrac is credited with building the "celerifer" - purportedly a hobby horse with two wheels instead of a rocker. This is now considered a patriotic hoax created by a French historian in 1891. It was debunked by a French researcher in 1976. In fact, a Jean Sievrac (!) of Marseille obtained an import price for a four-wheeled speed coach called celerifer in 1817.

1817
Variously called the running machine, velocipede, Draisienne and dandy horse, it was invented by Karl Drais, in response to widespread starvation and the slaughtering of horses, the consequence of a crop failure the year before (caused by the eruption of Tambora). It had a steer-able front wheel. This is the first appearance of the two-wheeler principle that is basic to cycling and motorcycling and minimizes rolling resistance. The velocipedes were made entirely of wood and needed to be balanced by directing the front wheel a bit. People then did not dare to lift the feet off safe ground, therefore the velocipedes were propelled by pushing off with the feet. After the good harvest in 1817 riding velocipedes on sidewalks was forbidden worldwide, since the velocipeders used the sidewalks, and because they could not balance on the rutted carriageway, the fad passed. It took nearly 50 years, until a roller-skating boom created a new public with a better sense of balance.

1839
Another entry in bicycle lore: Kirkpatric Mcmillan, a Scottish blacksmith adapted a treadle-type pedals to a bicycle, is considered a hoax, see the David Herlihy's book.

1863
Bone Shaker or Velocipede: Made of stiff materials, straight angles and steel wheels make this bike literally a bone shaker to ride over the cobblestone roads of the day. The improvement is a front wheel with peddles -- direct drive, fixed gear, one speed. This machine was known as the velocipede ("fast foot"), but was popularly known as the bone shaker, They also became a fad, and indoor riding academies, similar to roller rinks, could be found in large cities.

1870
Ordinary: These are better know as the "high wheelers". It is more comfortable to ride than its predecessor, but it requires an acrobat so they popularity has always been limited. This was the first all metal machine to appeared. (Previous to this metallurgy was not advanced enough to provide metal which was strong enough to make small, light parts out of.) The pedals were still attached directly to the front wheel with no freewheeling mechanism. Solid rubber tires and the long spokes of the large front wheel provided a much smoother ride than its predecessor. The front wheels became larger and larger as makers realized that the larger the wheel, the farther you could travel with one rotation of the pedals. You would purchase a wheel as large as your leg length would allow. These bicycles enjoyed a great popularity among young men of means (they cost an average worker six month's pay), with the hey-day being the decade of the 1880's. Because the rider sat so high above the center of gravity, if the front wheel was stopped by a stone or rut in the road, or the sudden emergence of a dog, the entire apparatus rotated forward on its front axle, and the rider, with his legs trapped under the handlebars, was dropped unceremoniously on his head. Here the term "taking a header" came into being. This machine was the first one to be called a bicycle ("two wheel").

1872
Friedrich Fischer (German) first mass-produces steel ball bearings, patented by Jules Suriray in 1869.

1876
Browett and Harrison (English) patent an early caliper brake.

1878
Scott and Phillott (English) patent the first practicable epicyclic change-speed gear fitted into the hub of a front-driving bicycle.

1879
Henry J. Lawson (English) patents a rear wheel, chain-driven safety bicycle, the “Bicyclette” (his earlier models were lever driven).

1880
Thomas Humber (English) adapts the block chain for use with his range of bicycles.

1880's
While the men were risking their necks on the high wheels, ladies, confined to their long skirts and corsets, could take a spin around the park on an adult tricycle. These machines also afforded more dignity to gentlemen such as doctors and clergymen. Many mechanical innovations now associated with the automobile were originally invented for tricycles. Rack and pinion steering, the differential, and band brakes, to name a few!

1880
Bicycle Activism: Good roads society organized by bicyclist and lobbied for good roads -- paving the way for motor vehicles!

1884
Thomas Stevens struck out across the country, carrying socks, a spare shirt and a slicker that doubled as tent and bedroll. Leaving San Francisco at 8 o'clock on April 22, 1884, he traveled eastward, reaching Boston after 3700 wagon trail miles, to complete the first transcontinental bicycle ride on August 4, 1884. After a pause, he continued east, circumnavigating earth, and returning to San Francisco on Dec 24, 1886. See Around the World by Bicycle, 2000 reenactment of 1884 ride, and 2006 reenactment of 1885 ride.

1888
Pneumatic tire: First applied to the bicycle by an Irish veterinarian who was trying to give his sickly young son a more comfortable ride on his tricycle. This inventive young doctor's name was Dunlop. Now that comfort and safety could be had in the same package, and that package was getting cheaper as manufacturing methods improved, everyone clamored to ride the bicycle.

1890
Safety Bike: As the name implies the safety bike is safer than the ordinary. The further improvement of metallurgy sparked the next innovation, or rather return to previous design. With metal that was now strong enough to make a fine chain and sprocket small and light enough for a human being to power, the next design was a return to the original configuration of two same-size wheels, only now, instead of just one wheel circumference for every pedal turn, you could, through the gear ratios, have a speed the same as the huge high-wheel. Initially, the bicycles still had the hard rubber tires, and in the absence of the long, shock-absorbing spokes, the ride they provided was much more uncomfortable than any of the high-wheel designs. Many of these bicycles of 100 years ago had front and/or rear suspensions. These designs competed with each other, your choice being the high-wheel's comfort or the safety's safety, but the next innovation tolled the death of the high-wheel design -- pneumatic tires. This is basically the same design as standard contemporary bikes. The safety bike allowed large numbers of people to take up cycling. Bikes were relatively expensive so use was somewhat restrict to the elite.

1890
Mass Production: The bicycle helped make the Gay Nineties what they were. It was a practical investment for the working man as transportation, and gave him a much greater flexibility for leisure. Women would also start riding bicycles in much larger numbers.

1894
Change In Social Order: Betty Bloomer's bloomers become very popular. Ladies, heretofore consigned to riding the heavy adult size tricycles that were only practical for taking a turn around the park, now could ride a much more versatile machine and still keep their legs covered with long skirts. The bicycle craze killed the bustle and the corset, instituted "common-sense dressing" for women and increased their mobility considerably. Victorian women cyclists. American Music and women bicyclists. Women and bicycles.

1894
The bicycle messenger business started in California when a railway strike halted mail delivery for the Bay Area. An ingenious bicycle shop owner in Fresno came up with the idea to deliver it by bicycle. He set up a relay between Fresno and San Francisco, with 6 riders covering about 30 miles each. The last rider would cover 60 miles.

1894-95
Annie Cohan (a.k.a. Annie Londonderry) bicycles around the world. Scant information has her leaving Boston in June 1894 on her Sterling bike and finishing her ride in Chicago in Sept 1895.



1895
Ignatz Schwinn and Adolph Arnold formed Arnold, Schwinn & Company to produce bikes.

1896
"Let me tell you what I think of bicycling. I think it has done more to emancipate women than anything else in the world. I stand and rejoice every time I see a woman ride by on a wheel. It gives woman a feeling of freedom and self-reliance." Susan B Anthony

1898

1899

1900
Major Taylor was the American cycling sprint champion, and he topped all European champions as well. Taylor was one of the first black athletes to become a world champion in any sport. (Taylor is celebrated in Andrew Richie's book Major Taylor: The Extraordinary Career of a Champion Bicycle Racer, Johns Hopkins University Press, 1996.) See also: The Major Taylor Association, The Major Taylor Society and The Major Taylor Velodrome.

1903
Internal hub gears invented by Sturmey Archer. By 1930 these were used on bikes manufactured around the world. There dominance lasted until the 1950s the parallelogram derailleur was introduced. See also Sturmey Archer Bicycle Hubs.

1920
Kids Bikes: The focus of planning and development of the transportation infrastructure was the private automobiles. Bicycles use declined and the bicycle was considered primarily as children's toys. Kids bikes were introduced just after the First World War by several manufacturers, such as Mead, Sears Roebuck, and Montgomery Ward, to revitalize the bike industry (Schwinn made its big splash slightly later), these designs, now called "classic", featured automobile and motorcycle elements to appeal to kids who, presumably, would rather have a motor. If ever a bike needed a motor, this was it. These bikes evolved into the most glamorous, fabulous, ostentatious, heavy designs ever. It is unbelievable today that 14-year-old kids could do the tricks that we did on these 65 pound machines! They were built into the middle 50s, by which time they had taken on design elements of jet aircraft and even rockets. By the 60s, they were becoming leaner and simpler.

1930
Tullio Campagnolo patents the quick release hub.

1930's
Schwinn introduced the fat tire, spring fork, streamline Excelsior, designed to take the abuse of teenage boys, which was the proto-type mountain bike. The Schwinn Excelsior frames became the model for the early mountain bikes almost fifty years later.

1938
Simplex introduced their cable shifted derailleur.

1940
Women bicyclists in the French Resistance. by Rebecca G. Halbreich, published in Ex Post Facto, 1994

1950s
Tullio Campagnolo introduced cable-operated, parallelogram derailleur. Campagnolo. For two decades Campagnolo equipment dominated true racing bikes. Eventually, he acquires 135 patents.

1958
Women ride in the first-ever World Championships on the road and track. Balina Ermolaeva becomes the first women's World Sprint Champion; Elsy Jacobs takes the road race.

1962
Renaissance: President's Council of Physical Fitness. Renewed interest in bicycle for recreation and fitness. This was the seed of a new major bicycle boom that accelerated through the 60's. The "English 3-speed" was the fancy consumer model of the time. Before the end of the decade it was the 10-speed derailleur "racing bike" which dominated the American market (the derailleur had been invented before the turn of the century and had been in more-or-less common use in Europe since).

1970
Earth Day: Increased awareness of westerns civilization's level of consumption of natural resources, air pollution, and destruction of the natural environment. This generated a new spurt in the growth of bicycle sales and bicycling, especially around college campuses.

1973
Oil embargo: Fuel shortages and shifts in relative price of transportation options created an environment which encouraged bicycle commuting. Many of the new recruits to bicycling stuck to it after the end of the embargo and became enthusiasts. There was also reinvigorated interest in the engineering of bicycles, including renewed interest recumbents and fairings.

1977
The prototype of the mountain bikes were first developed in Marin Co, California, north of San Francisco. Joe Breeze, Otis Guy, Gary Fisher, and Craig Mitchell were the earliest designers, builders and promoters.

1978
A new round of steep oil prices increases further encouraged bicycling. More bikes than car were being sold in the USA. Triple chain-ring cranks had become widely available, adding to the range of situation that bicycle were practical for.

1980's
Renewed interests in health and fitness, by the middle and upper class perpetuated the acceptance and growth of commuting, recreational and touring bicycling.

1980's
Bike messengers develop should backs to carry large envelopes flat. The style migrates into general use as an alternative to back packs, ruck sacks and purses.

1980's
Aerobic exercisers take the padding out of bike shorts and use them in exercise class. The style migrates into general use -- some wearers haven't exercised in decades.

1984
Tour de France Feminine run for the first time (winner: Marianne Martin.)

1984
Women's road race included in the Olympics for the first time (winner: Connie Carpenter.) Successes by American racing cyclist in the 1984 Olympics drew attention and added prestige to cycling. The ranks of racing cyclists grew substantially.

1984
Cogs began to be added to the rear gear cluster the number of speeds increase from 15 to 18, 21 and 24.

1984
Three-time national XC champion Jacquie Phelan founds the Women's Mountain Bike and Tea Society; the first formal outreach organization for women. WOMBATS is dedicated to introducing women to mountain biking in a fun, non-competitive environment.

1990
Shimano (Japanese) introduces integrated brake/gear levers.

1994
Sachs (SRAM) introduces PowerDisc, the first mass-produced hydraulic disc brake system.

1996
Mountain Bike compete at the Olympic Games for the first time in Atlanta, GA USA.

1986
Department of the Interior and Nielson surveys show that bicycling is the third most popular participatory sport after swimming and general exercise.

2000
Rohloff Speedhub 14 speed internal hub gearing system, with no overlapping ratios and a gear range as wide as a 27-speed derailleur system.

2002
Campagnolo introduces 10 cog rear cluster, allowing 30 speed bicycles

POP ART

Seni Pop
Seni Pop ( Pop Art) merupakan pergerakan seni visual yang telah muncul pada pertengahan 1950-an di British dan selari dengan pengakhiran 1950-an di Amerika Syarikat. Artis pop memfokuskan perhatiannya atas imej-imej biasa budaya popular seperti ‘billboards’, gambar kartun dari beberapa lukisan yang sederet, pengiklanan majalah dan produk pasaraya. Penciptaan istilah seni pop selalunya dirujuk kepada seni kritik British.
Lawrence Alloway, seorang kurator telah menggunakan terma atau istilah kebudayaan massa popular dalam eseinya yang bertajuk ‘ The Arts and Mass Media ‘. Namun begitu, Alloway merupakan salah seorang pengkritik yang mempertahankan kebudayaan massa dan Seni Pop sebagai sebuah bentuk seni yang sah. Seni Pop merupakan salah sebuah pergerakan seni utama pada abad ke-21. kebudayaan massa popular telah dikategorikan kepada tema dan teknik seperti pengiklanan dan buku-buku komik.
Seni Pop secara luasnya, ditafsirkan sebagai reaksi kepada idea-idea dominant stail lukisan abstrak dan sebagai perkembangan kepadanya. Seni pop menggunakan imej popular untuk menentang kebudayaan kumpulan elit dalam seni, menekankan lemen-elemen yang tidak menarik atau pertunjukkan seni yang tidak bernilai dalam sebarang kebudayaan. Ianya juga ditakrifkan oleh artis untuk mempersembahkan teknik-teknik yang mengurangkan kepentingan ekspresif tangan artis. Seni pop selalunya mensasarkan penonton yang luas.
Kebanyakkan seni pop dipertimbangkan secara akademik sebagai organsasi luar biasa yang mengguanakan latihan yang selalunya sukar untuk difahami. Seni pop dan pengurangannya dipertimbangkan untuk menjadi pergerakan seni moden yang terakhir dan pendahulu kepada seni postmodern.

Asal
Walaupun ianya ditandakan sebagai menajamkan seni kerja mengecat dan gambaran, namun seni pop juga merupakan tindak balas kepada stail lukisan abstrak. Walaubagaimanapun, ianya merupakan penyambungan kepada aspek-aspek tertentu stail lukisan abstrak seperti kepercayaan kebolehan untuk seni terutamanya bagi kerja seni yang berskala besar. Seni pop juga adalah sambungan dan penolakan Dadaisme. sementara seni pop dan Dadaisme telah menerokai kebanyakan subjek yang sama, seni pop telah menggantikan dorongan-dorongan anarki, yang bersifat sindiran dan memusnahkan pergerakan Dada dengan pengesahan kebudayaan massa artifak yang terpisah.

Seni Pop di Amerika Syarikat
Walaupun pergerakan seni pop British mendahului Amerika, seni pop Amerika mempunyai asalnya tersendiri yang berlainan daripada seni pop British. Pada tahun 1920-an, artis Amerika seperti Gerald Murphy, Charles Demuth dan Stuart Daris telah mencipta lukisan yang memberi gambaran tentang pergerakan seni pop. Lukisan mereka telah mengandungi gambaran kebudayaan pop seperti objek biasa yang dipilih daripada produk komesial Amerika dan rekabentuk pengiklanan.

Seni Pop di Sepanyol
Di Sepanyol, pembelajaran seni pop telah digabungkan dengan lukisan bentuk baru yang muncul daripada asas krisis yang tidak rasmi. Eduardo Arroyo yang mungkin boleh disesuaikan dalam fesyen seni pop mempunyai minat terhadap alam persekitaran. Kritikannya terhadap budaya media yang menggabungkan ikon komunikasi media massa dan sejarah lukisan serta perasaan bencinya telah menubuhkan stail artistik. Walaubagaimanapun, orang Sepanyol yang boleh dipertimbangkan sebagai artis seni yang sah ialah Alfredo Alcain. Ini disebabkan oleh penggunaan yang beliau buat dalam gambaran popular dan ruang kosong di dalam kandungannya.
Dalam kategori seni pop Sepanyol, “Chrinicle Team” yang muncul di Valencia antara tahun 1964 dan 1981, telah dibentuk oleh artis Manolo Valdes dan Rafael Solbes. Pergerakan mereka boleh dikategorikan sebagai pop disebabkan oleh penggunaan komik dan gambaran penerangan, serta kandungan fotografik dan imej yang memudahkan.
Pembuat filem Pedro Almodover telah mula dikenali menerusi subbudaya Madrid La Mavida pada tahun 1970-an. Beliau membuat 8 buah filem terbaik seni pop dengan belanja yang rendah dan seterusnya digelar sebagai Andy Warhol oleh media Sepanyol ketika itu. Dalam buku “Almodóvar on Almodóvar”, beliau mengatakan bahawa filem tahun 1950-an, iaitu “Funny Face” merupakan pusat inspirasi untuk kerjanya. Satu tanda perniagaan dalam filem Almodóvar ialah beliau sentiasa mengeluarkan komersial palsu untuk dimasukkan ke dalam sebuah adegan.

Seni Pop di Jepun
Seni pop di Jepun adalah unik dan boleh dikenal pasti sebagai orang Jepun disebabkan oleh stail dan subjek yang biasa. Kebanyakan artis pop Jepun mengambil inspirasi daripada ‘anime’ , ‘ukiyo-e’ dan seni tradisional Jepun. Artis pop semasa yang terrenal di Jepun ahíla Takashi Murakami dari kumpulan artis Kaikai Kiki. Beliau terrenal dengan pengeluaran massa tersendiri tetapi ianya mengandungi abstrak yang tinggi dan pergerakan seni yang unik. Beliau juga seorang yang berpegangan surrealisme, mempunyai pergerakan post-moden yang inspirasinya munucl daripada ‘anime’ dan budaya jalan Jepun. Ia bertujuan untuk remaja di Jepun dan menjadikan kesan budaza yang besar. Artis seperti Yoshitomo Nara di Jepun terkenal dengan seni yang diilhamkan dengan contengan di dinding, manakala Murakami pula terkenal dengan pengeluaran massa patung kecil plastik atau polimer. Kebanyakan artis pop di Jepun menggunakan ”surreal” atau lucah, iaituimej yang mengejutkan dalam seni mereka, yang diambil daripada ’hentai Jepun’. Elemen seni ini menarik perhatian penonto yang muda dan tua, serta mempunyai pemikiran provakasi, tetapi ianya tidak dianggap sebagai kesalahan di Jepun. Metafora biasa yang digunakan dalam seni pop Jepun adalah kemurniaan dan perihal mudah tersinggung kanak-kanak dan remaja.
Artis seperti Nara dan Aya Takano menggunakan kanak-kanak sebagai satu subjek dalam kenyakan seni mereka. Nara mencipta adegan marah melalui kanak-kanak sementara Takano pula berkomunikasi kemurniaan kanak-kanak dengan melukiskan gadis bogel.

Artis Seni Pop dari segi Pergerakan 1950-an hingga 1960-an
Seni pop adalah stail seni yang meluahkan imaginasi setiap hari yang merupakan kebudayaan pengguna kontemprorari. Sumber imaginasi yang biasa termasuk iklan, pembangunan barangan pengguna, foto selebriti dan kartun komik. Artis pop seni yang mendahului ialah Andy Warhol, Robert Rauschenberg dan Roy Lichtenstein.

Andy Warhol – Artis pop Amerika, 1928-1987
Andrew Warhola, dilahirkan pada 6 Ogos 1928, di bandar industri Pittsburgh, Pennsylvania. Andy Warhol terkenal dalam penerokaan seni pop, pengeluaran imej massa tentang pengeluaran objek. Hasil paling terkenalnya terpapar dalam tin sup Campbell. Warhol berjaya menukarkan imej yang dicat dengan tangan atau skrin lembut , gambar yang berbingkai dan bergantung di galeri kepada seni kiasan.
Warhol telah mengujinya dalam media seperti filem, ukiran, lukisan, skrin lembut tetapi hasil terbaiknya adalah ciptaan sendiri seperti selebriti antarabangsa dan ikon seni kebudayaan.

Robert Rauschenberg , Artis Pop Amerika 1925
Pernah melukis lebih dari 400 karya , Robert Rauschenberg yang dilahirkan pada 1925, adalah kunci utama kandungan Galeri Seni Antarabangsa yang mempunyai koleksi kertas kerja kontemporari. Pameran ini telah mempamerkan sekurang-kurangnya 60 conoth dari artis semua zaman dalam media cetak. Secara kronologi, pembangunan karya Rauschenberg, dari pemberitahuan, litograf yang dipaku dengan imej putih dan hitam kepada warna yang besar menekankan gabungan proses cetakan yang sofiskated. Beliau juga memasukkan teknik baru seperti imej digital dan mengujinya dengan kertas luar biasa, kadbod, fabrik dan plasik.
Seperti gabungan Rauschenberg yang terkenal percetakan sesuai dibuat menerusi integrasi imej dari suratkhabar, majalah dan gambar-gambar persendiriannya. Mungkin lebih dari kerja lainnya, beliau mencetak gambar selebriti yang tidak dijangka, dicipta dalam bentuk kolaboratif dan kemungkinan pemuliharaan dalam teknik mencetak.

Roy Lichtenstein - Artis Pop Amerika 1923- 1997
Seni pop adalah penglibatan dengan apa yang beliau rasa sebagai paling loyang dan watak yang mengugut dalam kebudayaan, benda yang dibenci tetapi ia juga berkuasa dalam memberi kesan kepada manusia.