Lowbrow , also known as Pop Surrealism , is an underground art movement originating in the Los Angeles, California area during the late-1960s. It is a populist movement with roots in underground comix, punk music, tiki culture, graffiti, and hot-rod street cultures.

Lowbrow art frequently employs humor, ranging from gleeful to sarcastic. The movement's origins trace back to Southern California hotrod and surf culture, with Ed "Big Daddy" Roth's creation of Rat Fink in the late 1950s. The 1960s saw the movement expand into underground comix, notably through the work of R. Crumb, Victor Moscoso, S. Clay Wilson, and Robert Williams.

Lowbrow draws influences from classic cartoons, 1960s television sitcoms, psychedelic rock music, pulp art, softcore pornography, comic books, science fiction, "B" horror movies , Japanese anime , and popular cultural icons. The movement is characterized by its rejection of conventional artistic rules and its heavy reliance on popular culture icons, particularly those considered "retro."

While primarily consisting of paintings, Lowbrow also includes toys, digital art, and sculpture. The movement's visibility increased significantly with the 1994 founding of Juxtapoz magazine by Robert Williams, which showcases Lowbrow artists. Despite its growing popularity, Lowbrow art has faced difficulties in gaining acceptance from the traditional art establishment. The movement has also experienced an identity crisis due to the inclusion of artists with varying levels of technical skill and artistic focus.

Lowbrow emerged in Los Angeles, California, approximately between the late 1960s and 1970s. Initially, the movement lacked a formal name and self-awareness. Early artists were primarily underground cartoonists, including Robert Williams and Gary Panter. Some trace the movement's origins to the late 1950s with Ed "Big Daddy" Roth's creation of "Rat Fink" in Southern California. During the 1960s, Lowbrow expanded into underground comix, with notable artists such as Robert Crumb, Victor Moscoso, and Steve Clay Wilson, alongside Robert Williams.

Cultural influences on Lowbrow are diverse, encompassing classic cartoons, punk music, pulp art, "B" horror movies, Japanese anime, tiki and surf cultures, soft pornography, graffiti, hot rod culture, and various popular culture icons. Artists typically were largely self-taught and operated outside the traditional fine art system, deliberately disregarding conventional artistic rules. This led to initial rejection by mainstream critics, curators, and galleries. However, alternative galleries in Los Angeles and New York, such as the Psychedelic Solution Gallery, La Luz de Jesus, and 01 gallery, began showcasing Lowbrow artists. The first formal art gallery to take Lowbrow art seriously was the Julie Rico Gallery in Santa Monica with Anthony Ausgang's 1992 one-man show "Looney Virtues." The Bess Cutler Gallery also played a role in showcasing Lowbrow artists.

Robert Williams claimed to have coined the term "lowbrow art" in 1979 for his book, The Lowbrow Art of Robt. Williams , to distinguish his work from recognized "highbrow" art. He later described the movement as "cartoon-tainted abstract surrealism" and his own work as "conceptual realism."

In 1994, Williams, along with Greg Escalante and Eric Swenson, launched Juxtapoz magazine, which played a key role in legitimizing and promoting Lowbrow art. The magazine, while covering broader underground culture , helped expand the movement's visibility. Juxtapoz remains a prominent art magazine in the United States. Lowbrow is also commonly referred to as Pop Surrealism. The term "Pop Surrealism" was coined by The Aldrich Contemporary Art Museum for its 1998 exhibit of the same name. This exhibition featured artists such as Gregory Crewdson, Mariko Mori, Ashley Bickerton, Art Spiegelman, Tony Oursler, and Cindy Sherman.

The mainstreaming of lowbrow surrealism  was marked by its spreading in media such as children's literature and even neoliberal media like the Times .

Lowbrow art primarily manifests as paintings, but also includes toys, digital art, and sculpture. The movement draws visual influences from underground comix, punk music, tiki culture, graffiti, and hot-rod culture. The aesthetic frequently incorporates humor, ranging from gleeful to sarcastic.

Common visual characteristics include references to popular culture, particularly those considered "retro," making them recognizable to individuals who grew up with these cultural elements. Lowbrow artists frequently reject conventional artistic rules, resulting in unorthodox approaches to technique and subject matter. The art often features elements of cartoonish or surreal imagery, reflecting influences from underground comix and surrealism .

The movement's visual style has evolved since its emergence in the late 1960s, with artists like Robert Williams and Gary Panter establishing early visual trends. Contemporary artists such as Jeff Soto, Naoto Hattori, and Amy Sol continue to contribute to the visual vocabulary of Lowbrow, incorporating elements of street art, fantasy , and contemporary illustration. The aesthetic is meant to be accessible to a broad audience, reflecting the movement's populist roots. It aims to connect with viewers through shared cultural references and a rejection of elitist artistic conventions.

Lowbrow art challenges the traditional distinction between highbrow and lowbrow culture, asserting the value of accessible, humorous, and entertaining art. The movement arose in opposition to the perceived elitism of the established art world. Lowbrow artists draw inspiration from popular culture, including underground comix, cartoons, and various subcultures , aiming to subvert artistic conventions and societal norms.

The movement emphasizes the importance of entertainment and emotional connection in art. Rather than requiring intellectual sophistication, Lowbrow art seeks to provide a form of visual relaxation and enjoyment. It rejects the notion that art must be intellectually demanding to be valid, advocating for the appreciation of art that brings immediate pleasure and escapism.

Lowbrow artists frequently employ humor, satire, and irony to critique social norms and reference themes of alienation and the human psyche. They pay homage to the " kitsch ," the strange, and the marginalized, challenging traditional notions of artistic subject matter. The movement values technical skill, evident in the detailed and imaginative works produced, while simultaneously rejecting the notion that adherence to established artistic rules is necessary.