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Pop Art and the Origins of Post-Modernism.

By: Series: Contemporary Artists and their CriticsPublisher: Cambridge : Cambridge University Press, 2001Copyright date: ©2001Edition: 3rd edDescription: 1 online resource (290 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780511154997
Subject(s): Genre/Form: Additional physical formats: Print version:: Pop Art and the Origins of Post-ModernismDDC classification:
  • 709/.73/09046
LOC classification:
  • N6512.5.P6 -- H37 2001eb
Online resources:
Contents:
Cover -- Half-title -- Series-title -- Title -- Copyright -- Contents -- Introduction -- PART ONE Theoretical Framework -- 1 Post-Modernist Assumptions -- PART TWO "Social" Critics -- 2 Lawrence Alloway -- 3 Harold Rosenberg -- 4 Leo Steinberg -- PART THREE "Philosophical" Critics -- 5 Barbara Rose -- 6 Max Kozloff -- PART FOUR "Cultural" Critics -- 7 Susan Sontag -- Conclusion -- Notes -- INTRODUCTION -- CHAPTER 1. POST-MODERNIST ASSUMPTIONS -- CHAPTER 2. LAWRENCE ALLOWAY: POP ART AND THE "POP ART-FINE ART CONTINUUM" -- CHAPTER 3. HAROLD ROSENBERG: POP ART AND THE "DE-DEFINITION" OF BOTH ART AND "SELF" -- CHAPTER 4. LEO STEINBERG: POP, "POST-MODERNIST" PAINTING, AND THE FLATBED PICTURE PLANE -- CHAPTER 5. BARBARA ROSE. POP, PRAGMATISM, AND "PROPHETIC PRAGMATISM" -- CHAPTER 6. MAX KOZLOFF: A PHENOMENOLOGICAL SOLUTION TO "WARHOLISM" AND ITS DISENFRANCHISEMENT OF THE CRITIC'S INTERPRETIVE… -- CHAPTER 7. SUSAN SONTAG: POP, THE AESTHETICS OF SILENCE, AND THE NEW SENSIBILITY -- CONCLUSION -- Index.
Summary: Examines the critical reception of Pop Art, identifying the American roots of deconstructive post-modernism.
Holdings
Item type Current library Call number Status Date due Barcode Item holds
Ebrary Ebrary Afghanistan Available EBKAF000321
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Ebrary Ebrary Cyprus Available
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Ebrary Ebrary Nepal Available EBKNP000321
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Total holds: 0

Cover -- Half-title -- Series-title -- Title -- Copyright -- Contents -- Introduction -- PART ONE Theoretical Framework -- 1 Post-Modernist Assumptions -- PART TWO "Social" Critics -- 2 Lawrence Alloway -- 3 Harold Rosenberg -- 4 Leo Steinberg -- PART THREE "Philosophical" Critics -- 5 Barbara Rose -- 6 Max Kozloff -- PART FOUR "Cultural" Critics -- 7 Susan Sontag -- Conclusion -- Notes -- INTRODUCTION -- CHAPTER 1. POST-MODERNIST ASSUMPTIONS -- CHAPTER 2. LAWRENCE ALLOWAY: POP ART AND THE "POP ART-FINE ART CONTINUUM" -- CHAPTER 3. HAROLD ROSENBERG: POP ART AND THE "DE-DEFINITION" OF BOTH ART AND "SELF" -- CHAPTER 4. LEO STEINBERG: POP, "POST-MODERNIST" PAINTING, AND THE FLATBED PICTURE PLANE -- CHAPTER 5. BARBARA ROSE. POP, PRAGMATISM, AND "PROPHETIC PRAGMATISM" -- CHAPTER 6. MAX KOZLOFF: A PHENOMENOLOGICAL SOLUTION TO "WARHOLISM" AND ITS DISENFRANCHISEMENT OF THE CRITIC'S INTERPRETIVE… -- CHAPTER 7. SUSAN SONTAG: POP, THE AESTHETICS OF SILENCE, AND THE NEW SENSIBILITY -- CONCLUSION -- Index.

Examines the critical reception of Pop Art, identifying the American roots of deconstructive post-modernism.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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