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 - broadly cat...
| Otros Autores: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Cambridge :
Cambridge University Press
2001.
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| Colección: | CUP ebooks.
Contemporary artists and their critics. |
| Acceso en línea: | Conectar con la versión electrónica |
| Ver en Universidad de Navarra: | https://innopac.unav.es/record=b42018444*spi |
Tabla de Contenidos:
- pt. 1. Theoretical Framework. 1. Post-Modernist Assumptions
- pt. 2. "Social" Critics. 2. Lawrence Alloway: Pop Art and the "Pop Art-Fine Art Continuum" 3. Harold Rosenberg: Pop Art and the "De-definition" of Both Art and "Self" 4. Leo Steinberg: Pop, "Post-Modernist" Painting, and the Flatbed Picture Plane
- pt. 3. "Philosophical" Critics. 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
- pt. 4. "Cultural" Critics. 7. Susan Sontag: Pop, the Aesthetics of Silence, and the New Sensibility.
