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By Sylvia Harrison

Pop paintings and the Origins of Post-Modernism examines the severe reception of father paintings in the United States through the Sixties. evaluating the information of a bunch of latest York-based critics, together with Leo Steinberg, Susan Sontag, and Max Kozloff, between others, Sylvia Harrison demonstrates how their principles - largely classified as both sociological or philosophical - endure a impressive similarity to the physique of concept and opinion that's now linked to deconstructive post-modernism. Perceived via those disciplinary lenses, Pop paintings 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 remark on worldviews and the standards useful for his or her formation.

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