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By Sylvia Harrison

Pop paintings and the Origins of Post-Modernism examines the severe reception of father artwork in the United States throughout the Nineteen Sixties. evaluating the tips of a gaggle of recent York-based critics, together with Leo Steinberg, Susan Sontag, and Max Kozloff, between others, Sylvia Harrison demonstrates how their principles - widely classified as both sociological or philosophical - undergo a amazing similarity to the physique of notion and opinion that is now linked to deconstructive post-modernism. Perceived via those disciplinary lenses, Pop artwork arises as not just a mirrored image of the dominance of mass communications and capitalist consumerism in post-war American society, but in addition a subversive observation on worldviews and the criteria precious for his or her formation.

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By Sylvia Harrison

Pop paintings and the Origins of Post-Modernism examines the severe reception of father artwork in the United States throughout the Nineteen Sixties. evaluating the tips of a gaggle of recent York-based critics, together with Leo Steinberg, Susan Sontag, and Max Kozloff, between others, Sylvia Harrison demonstrates how their principles - widely classified as both sociological or philosophical - undergo a amazing similarity to the physique of notion and opinion that is now linked to deconstructive post-modernism. Perceived via those disciplinary lenses, Pop artwork arises as not just a mirrored image of the dominance of mass communications and capitalist consumerism in post-war American society, but in addition a subversive observation on worldviews and the criteria precious for his or her formation.

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