British Pop artists adopted a similar visual technique but focused their attention on the mass imagery of popular culture which they waved as a challenge in the face of the establishment.
Richard Hamilton’s collage of 1956, is the ultimate catalogue of pop art imagery: comics, newspapers, advertising, cars, food, packaging, appliances, celebrity, sex, the space age, television and the movies.
American Pop Art evolved as an attempt to reverse this trend by reintroducing the image as a structural device in painting, to pull art back from the obscurity of abstraction into the real world again.
This was a model that had been tried and tested before.
It coincided with the globalization of pop music and youth culture, personified by Elvis and the Beatles.
Pop Art was brash, young and fun and hostile to the artistic establishment.
His use of such neutral icons offered him a subject that was immediately recognisable but so ordinary that it left him free to work on other levels.
His subjects provided him with a structure upon which he could explore the visual and physical qualities of his medium.
Alloway, alongside the artists Richard Hamilton and Eduardo Paolozzi, was among the founding members of the Independent Group, a collective of artists, architects, and writers who explored radical approaches to contemporary visual culture during their meetings at ICA in London between 19. At their first meeting Paolozzi gave a visual lecture entitled 'Bunk' (short for 'bunkum' meaning nonsense) which took an ironic look at the all-American lifestyle.
This was illustrated by a series of collages created from American magazines that he received from GI's still resident in Paris in the late 1940s.