UID:
edocfu_9959239683802883
Format:
1 online resource (vii, 280 pages) :
,
digital, PDF file(s).
Edition:
3rd ed.
ISBN:
1-107-12147-7
,
0-511-17489-6
,
0-511-04676-6
,
0-511-30245-2
,
1-280-42997-6
,
0-511-15499-2
,
0-511-49768-7
Series Statement:
Contemporary artists and their critics
Content:
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.
Note:
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.
,
English
Additional Edition:
ISBN 0-521-79115-4
Additional Edition:
ISBN 0-511-01624-7
Language:
English
