Cambridge [England] ; New York : Cambridge University Press, 2001.
vii, 280 p. ; 24 cm.
Includes bibliographical references (p. 223-273) and index.
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.
(source: Nielsen Book Data)
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. (source: Nielsen Book Data)