UID:
almahu_9947414331102882
Umfang:
1 online resource (vii, 280 pages) :
,
digital, PDF file(s).
ISBN:
9780511497681 (ebook)
Serie:
Contemporary artists and their critics
Inhalt:
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.
Anmerkung:
Title from publisher's bibliographic system (viewed on 05 Oct 2015).
,
Theoretical Framework.
,
Post-Modernist Assumptions --
,
"Social" Critics.
,
Lawrence Alloway: Pop Art and the "Pop Art-Fine Art Continuum"
,
Harold Rosenberg: Pop Art and the "De-definition" of Both Art and "Self"
,
Leo Steinberg: Pop, "Post-Modernist" Painting, and the Flatbed Picture Plane --
,
"Philosophical" Critics.
,
Barbara Rose: Pop, Pragmatism, and "Prophetic Pragmatism"
,
Max Kozloff: A Phenomenological Solution to "Warholism" and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles --
,
"Cultural" Critics.
,
Susan Sontag: Pop, the Aesthetics of Silence, and the New Sensibility.
Weitere Ausg.:
Print version: ISBN 9780521791151
Sprache:
Englisch
Fachgebiete:
Kunstgeschichte
Schlagwort(e):
Aufsatzsammlung
;
Aufsatzsammlung
URL:
https://doi.org/10.1017/CBO9780511497681
URL:
Volltext
(URL des Erstveröffentlichers)
URL:
Volltext
(URL des Erstveröffentlichers)
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