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Pop Art and the Origins of Post-Modernism

Part of Contemporary Artists and their Critics

  • Date Published: January 2005
  • availability: This ISBN is for an eBook version which is distributed on our behalf by a third party.
  • format: Adobe eBook Reader
  • isbn: 9780511031496

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  • Pop Art and the Origins of Post-Modernism examines the critical reception of Pop Art in America during the 1960s. Comparing the ideas of a group of New York-based critics, including Leo Steinberg, Susan Sontag, and Max Kozloff, among others, Sylvia Harrison demonstrates how their ideas - broadly categorized as either sociological or philosophical - bear a striking similarity to the body of thought and opinion which is now associated with deconstructive post-modernism. Perceived through these disciplinary lenses, Pop Art arises as not only a reflection of the dominance of mass communications and capitalist consumerism in post-war American society, but also a subversive commentary on worldviews and the factors necessary for their formation.

    • Examines the origins of postmodernism in visual art and visual art criticism
    • Compares various perspectives on pop art and analyzes the perspectives themselves
    • Focuses on the writings of key critics in the New York art world during the sixties
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    Product details

    • Date Published: January 2005
    • format: Adobe eBook Reader
    • isbn: 9780511031496
    • availability: This ISBN is for an eBook version which is distributed on our behalf by a third party.
  • Table of Contents

    Introduction
    1. Postmodernist assumptions
    2. Lawrence Alloway: pop srt and the 'pop art-fine art continuum'
    3. Harold Rosenberg and the 'de-definition' of both art and self
    4. Leo Steinberg: pop, 'Post-Modernist' painting and the flatbed picture plane
    5. Barbara Rose: pop, pragmatism and 'prophetic pragmatism'
    6. Max Kozloff: a phenomenological solution to 'Warholism' and its disenfranchisement of the critic's interpretive and evaluative roles
    7. Susan Sontag: the aesthetics of silence and the new sensibility
    Conclusion.

  • Author

    Sylvia Harrison, La Trobe University, Victoria

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