Contents

pp vii-viii

Introduction

pp 1-8

PART ONE - THEORETICAL FRAMEWORK

pp 9-10

1 - Post-Modernist Assumptions

pp 11-34

PART TWO - “SOCIAL” CRITICS

pp 35-36

2 - Lawrence Alloway: Pop Art and the “Pop Art-Fine Art Continuum”

pp 37-67

3 - Harold Rosenberg: Pop Art and the “De-definition” of Both Art and “Self”

pp 68-95

4 - Leo Steinberg: Pop, “Post-Modernist” Painting and the Flatbed Picture Plane

pp 96-112

PART THREE - “PHILOSOPHICAL” CRITICS

pp 113-114

5 - Barbara Rose: Pop, Pragmastism, and “Prophetic Pragmatism”

pp 115-145

6 - Max Kozloff: A Phenomenological Solution to “Warholism” and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles

pp 146-168

PART FOUR - “CULTURAL” CRITICS

pp 169-170

7 - Susan Sontag: Pop, the Aesthetics of Silence, and the New Sensibility

pp 171-207

Conclusion

pp 208-222

Notes

pp 223-274

Index

pp 275-280