Pop art and the origins of post-modernism / Sylvia Harrison.

Includes bibliographical references (pages 223-273) and index.

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.

"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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