Synopses & Reviews
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.
Synopsis
Examines the critical reception of Pop Art, identifying the American roots of deconstructive post-modernism.
Description
Includes bibliographical references (p. 223-273) and index.
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.