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By Sylvia Harrison

Pop artwork and the Origins of Post-Modernism examines the severe reception of father paintings in the United States in the course of the 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 - extensively categorised as both sociological or philosophical - undergo a extraordinary similarity to the physique of concept 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 standards precious for his or her formation.

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