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Introduction | 1 | |
Pt. 1 | Theoretical Framework | |
1 | Post-Modernist Assumptions | 11 |
Pt. 2 | "Social" Critics | |
2 | Lawrence Alloway: Pop Art and the "Pop Art-Fine Art Continuum" | 37 |
3 | Harold Rosenberg: Pop Art and the "De-definition" of Both Art and "Self" | 68 |
4 | Leo Steinberg: Pop, "Post-Modernist" Painting, and the Flatbed Picture Plane | 96 |
Pt. 3 | "Philosophical" Critics | |
5 | Barbara Rose: Pop, Pragmatism, and "Prophetic Pragmatism" | 115 |
6 | Max Kozloff: A Phenomenological Solution to "Warholism" and Its Disenfranchisement of the Critic's Interpretive and Evaluative Roles | 146 |
Pt. 4 | "Cultural" Critics | |
7 | Susan Sontag: Pop, the Aesthetics of Silence, and the New Sensibility | 171 |
Conclusion | 208 | |
Notes | 223 | |
Index | 275 |
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Add 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 New York-based critics such as Leo Steinberg, Susan Sontag, and Max Kozloff, Sylvia Harrison demonstrates how t, Pop Art and the Origins of Post-Modernism to the inventory that you are selling on WonderClubX
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Add 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 New York-based critics such as Leo Steinberg, Susan Sontag, and Max Kozloff, Sylvia Harrison demonstrates how t, Pop Art and the Origins of Post-Modernism to your collection on WonderClub |