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Pop art and the origins of post-modernism /
"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 - broad...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge ; New York :
Cambridge University Press,
2001.
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| Colección: | Contemporary artists and their critics.
|
| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Harrison, Sylvia, |d 1947- | |
| 245 | 1 | 0 | |a Pop art and the origins of post-modernism / |c Sylvia Harrison. |
| 260 | |a Cambridge ; |a New York : |b Cambridge University Press, |c 2001. | ||
| 300 | |a 1 online resource (vii, 280 pages) | ||
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| 490 | 1 | |a Contemporary artists and their critics | |
| 504 | |a Includes bibliographical references (pages 223-273) and index. | ||
| 505 | 0 | 0 | |g pt. 1. |t Theoretical Framework. |g 1. |t Post-Modernist Assumptions -- |g pt. 2. |t "Social" Critics. |g 2. |t Lawrence Alloway: Pop Art and the "Pop Art-Fine Art Continuum" |g 3. |t Harold Rosenberg: Pop Art and the "De-definition" of Both Art and "Self" |g 4. |t Leo Steinberg: Pop, "Post-Modernist" Painting, and the Flatbed Picture Plane -- |g pt. 3. |t "Philosophical" Critics. |g 5. |t Barbara Rose: Pop, Pragmatism, and "Prophetic Pragmatism" |g 6. |t Max Kozloff: A Phenomenological Solution to "Warholism" and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles -- |g pt. 4. |t "Cultural" Critics. |g 7. |t Susan Sontag: Pop, the Aesthetics of Silence, and the New Sensibility. |
| 520 | 1 | |a "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 that 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 as a subversive commentary on worldviews and the factors necessary for their formation."--Jacket | |
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