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Pop Art and the Origins of Post-Modernism
By Sylvia Harrison
281 pages
- Contributors:
- Publisher:
- Cambridge University Press
- Place of publication:
- Cambridge, England
- Publication year:
- 2001
- Subjects:
Synopsis
Pop Art and the Origins of Post-Modernism examines the critical reception of Pop Art in America during the 1960s. Comparing the ideas of New York-based critics such as Leo Steinberg, Susan Sontag, and Max Kozloff, Sylvia Harrison demonstrates how their ideas bear a striking similarity to the body of thought and opinion now associated with deconstructive postmodernism. Pop Art thus arises as not only a reflection of the dominance of mass communications and capitalist consumerism in postwar American ...
Pop Art and the Origins of Post-Modernism examines the critical reception of Pop Art in America during the 1960s. Comparing the ideas of New York-based critics such as Leo Steinberg, Susan Sontag, and Max Kozloff, Sylvia Harrison demonstrates how their ideas bear a striking similarity to the body of thought and opinion now associated with deconstructive postmodernism. Pop Art thus arises as not only a reflection of the dominance of mass communications and capitalist consumerism in postwar American society, but also a subversive commentary on worldviews and the factors necessary for their formation.
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Table of contents
The first page of every section is available free to non-members – click a section heading to start reading now!
- Pop Art and the Origins of Post-Modernism *
- Contemporary Artists and Their Critics *
- Title Page *
- Contents *
- Introduction 1
- Part One - Theoretical Framework *
- 1 - Post-Modernist Assumptions 11
- Part Two - Social Critics *
- 2 - Pop Art and the “pop Art–fine Art Continuum” 37
- 3 - Pop Art and the “de-Definition” of Both Art and “self” 68
- 4 - Pop, “post-Modernist” Painting and the Flatbed Picture Plane 96
- Part Three - Philosophical Critics *
- 5 - Pop, Pragmatism, and “prophetic Pragmatism” 115
- 6 - A Phenomenological Solution to “warholism” and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles 146
- Part Four - Cultural Critics *
- 7 - Pop, the Aesthetics of Silence, and the New Sensibility 171
- Pop Art and the Origins of Post-Modernism *
- Contemporary Artists and Their Critics *
- Title Page *
- Contents *
- Introduction 1
- Part One - Theoretical Framework *
- 1 - Post-Modernist Assumptions 11
- Part Two - Social Critics *
- 2 - Pop Art and the “pop Art–fine Art Continuum” 37
- 3 - Pop Art and the “de-Definition” of Both Art and “self” 68
- 4 - Pop, “post-Modernist” Painting and the Flatbed Picture Plane 96
- Part Three - Philosophical Critics *
- 5 - Pop, Pragmatism, and “prophetic Pragmatism” 115
- 6 - A Phenomenological Solution to “warholism” and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles 146
- Part Four - Cultural Critics *
- 7 - Pop, the Aesthetics of Silence, and the New Sensibility 171
- Conclusion 208
- Notes 223
- Index 275