{"product_id":"pop-art-9780520212435","title":"Pop Art","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eA chronical of one of the most controversial art movements of the 20th century. A broad range of articles trace the emergence of the movement in England and America and then focus on the major pop artists Roy Lichtenstein, Claes Oldenburg, James Rosenquist and Andy Warhol.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\"To understand where we are in American art, we need \u003ci\u003ePop Art: A Critical History\u003c\/i\u003e to remind us of where we were. Thorough and as lively as the era it documents, Steven Henry Madoff's indispensable compendium neatly recaptures a moment that irrevocably altered American culture.\" * New York Times *\u003cbr\u003e\"This not-to-be-missed anthology collects stimulating articles, interviews, and other texts defining 'the phenomenon of Pop.' Art critic Madoff contributes a fine introductory overview and then presents 94 critical articles, negative and positive, on this brash, vulgar, successful style.\" * Library Journal *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e List of Illustrations \u003cbr\u003e Acknowledgments \u003cbr\u003e\u003cbr\u003e INTRODUCTION\u003cbr\u003e Steven Henry Madoff, Wham! Blam! How Pop Art Stormed the\u003cbr\u003e High-Art Citadel and What the Critics Said\u003cbr\u003e\u003cbr\u003e 1 PRE-POP: AMERICAN PRECURSORS, ENGLISH CURRENTS\u003cbr\u003e Frank O’Hara, from “Larry Rivers: ‘Why I Paint as I Do’” \u003cbr\u003e Alison and Peter Smithson, “But Today We Collect Ads” \u003cbr\u003e Richard Hamilton, “Letter to Peter and Alison Smithson” \u003cbr\u003e Lawrence Alloway, “The Arts and the Mass Media” \u003cbr\u003e Thomas B. Hess, “Mixed Mediums for a Soft Revolution” \u003cbr\u003e Robert Rosenblum, “Jasper Johns” \u003cbr\u003e Clement Greenberg, from “After Abstract Expressionism” \u003cbr\u003e Jasia Reichardt, “Pop Art and After” \u003cbr\u003e Alan R. Solomon, from “Robert Rauschenberg” \u003cbr\u003e\u003cbr\u003e 2 THE PHENOMENON OF POP:\u003cbr\u003e GENERAL ESSAYS AND LOCAL REVIEWS, 1962–1970\u003cbr\u003e Sidney Tillim, from “Month in Review: New York Exhibitions” \u003cbr\u003e Max Kozloff, “‘Pop’ Culture, Metaphysical Disgust, and the New Vulgarians” \u003cbr\u003e Jules Langsner, from “Los Angeles Letter” \u003cbr\u003e G. R. Swenson, “The New American ‘Sign Painters’” \u003cbr\u003e Sidney Janis, “On the Theme of the Exhibition” \u003cbr\u003e Brian O’Doherty, “Art: Avant-Garde Revolt” \u003cbr\u003e John Coplans, “The New Painting of Common Objects” \u003cbr\u003e Gilbert Sorrentino, “Kitch into ‘Art’: The New Realism” \u003cbr\u003e Barbara Rose, “Dada, Then and Now” \u003cbr\u003e Peter Selz et al, “A Symposium on Pop Art” \u003cbr\u003e Barbara Rose, “Pop Art at the Guggenheim” \u003cbr\u003e Peter Selz, “The Flaccid Art” \u003cbr\u003e Ivan C. Karp, “Anti-Sensibility Painting” \u003cbr\u003e Alan R. Solomon, “The New Art” \u003cbr\u003e John Coplans, “Pop Art, USA” \u003cbr\u003e Thomas B. Hess, from “Pop and Public” \u003cbr\u003e G.R. Swenson, “What Is Pop Art? Part I” \u003cbr\u003e G.R. Swenson, from “What Is Pop Art? Part II” \u003cbr\u003e John Canaday, “Pop Art Sells On and On — Why?” \u003cbr\u003e Tullia Zevi, “The Biennale: How Evil is Pop Art?” \u003cbr\u003e Max Kozloff, “Dissimulated Pop” \u003cbr\u003e Unsigned, “Pop Art Exhibited, and It’s Crazy, Dad” \u003cbr\u003e Robert Rosenblum, “Pop Art and Non-Pop Art” \u003cbr\u003e Sidney Tillim, “Further Observations on the Pop Phenomenon” \u003cbr\u003e Bruce Glaser, “Oldenburg, Lichtenstein, Warhol: A Discussion” \u003cbr\u003e Peter Benchley, “Special Report: The Story of Pop,” \u003cbr\u003e John Adkins Richardson, “Dada, Camp, and the Mode Called Pop” \u003cbr\u003e Dana Adams Schmidt, “London Court Fines a Gallery for\u003cbr\u003e ‘Indecent’ Pop-Art Display” \u003cbr\u003e Peter Plagens, “Present-Day Styles and Ready-Made Criticism” \u003cbr\u003e Lawrence Alloway, “Popular Culture and Pop Art” \u003cbr\u003e John Russell, “Pop Reappraised” \u003cbr\u003e Harold Rosenberg, “The Art World: Marilyn Mondrian” \u003cbr\u003e\u003cbr\u003e 3 FOCUS: THE MAJOR ARTISTS\u003cbr\u003e Roy Lichtenstein\u003cbr\u003e Unsigned, “Everything Clear Now?” \u003cbr\u003e Donald Judd, “In the Galleries: Roy Lichtenstein” \u003cbr\u003e Robert Rosenblum, “Roy Lichtenstein and the Realist Revolt” \u003cbr\u003e Douglas McClellan, “Roy Lichtenstein, Ferus Gallery” \u003cbr\u003e Dorothy Seiberling, “Is He the Worst Artist in the U.S.?” \u003cbr\u003e John Ashbery, “Pop Artist Switches to Aggressive Neutral Banality” \u003cbr\u003e John Coplans, “Talking with Roy Lichtenstein” \u003cbr\u003e Albert Boime, “Roy Lichtenstein and the Comic Strip” \u003cbr\u003e Diane Waldman, “Roy Lichtenstein” \u003cbr\u003e Claes Oldenburg\u003cbr\u003e Claes Oldenburg, “Statement” \u003cbr\u003e Michael Fried, “New York Letter” \u003cbr\u003e Jill Johnston, “Off Off-Broadway; ‘Happenings’ at Ray Gun Mfg. Co.” \u003cbr\u003e Ellen H. Johnson, “The Living Object” \u003cbr\u003e Gerald Nordland, from “Marcel Duchamp and\u003cbr\u003e Common Object Art” \u003cbr\u003e Donald Judd, “In the Galleries: Claes Oldenburg” \u003cbr\u003e Öyvind Fahlström, “Object-Making” \u003cbr\u003e\u003cbr\u003e Barbara Rose, “Claes Oldenburg’s Soft Machines” \u003cbr\u003e Richard Kostelanetz, from “Claes Oldenburg” \u003cbr\u003e James Rosenquist\u003cbr\u003e Gene R. Swenson, “Reviews and Previews:\u003cbr\u003e New Names This Month: James Rosenquist” \u003cbr\u003e Edward F. Fry, essay from exhibition catalogue, James Rosenquist \u003cbr\u003e William Wilson, “Los Angeles: James Rosenquist” \u003cbr\u003e Lucy R. Lippard, “James Rosenquist: Aspects of a Multiple Art” \u003cbr\u003e Doon Arbus, “The Man in the Paper Suit” \u003cbr\u003e Hilton Kramer, “A New Hangar for Rosenquist’s Jet-Pop ‘F-111’” \u003cbr\u003e Robert C. Scull, “Re the F-111: A Collector’s Notes” \u003cbr\u003e Sidney Tillim, “Rosenquist at the Met: Avant-Garde or Red Guard?” \u003cbr\u003e Lawrence Alloway, “Art” \u003cbr\u003e Andy Warhol\u003cbr\u003e Henry T. Hopkins, “Andy Warhol, Ferus Gallery” \u003cbr\u003e Michael Fried, from “New York Letter” \u003cbr\u003e Donald Judd, “In the Galleries: Andy Warhol” \u003cbr\u003e Arthur Danto, “The Artworld” \u003cbr\u003e Unsigned, “Saint Andrew” \u003cbr\u003e Thomas B. Hess, “Reviews and Previews:\u003cbr\u003e New Names this Month: Andy Warhol” \u003cbr\u003e Roger Vaughan, “Superpop or a Night at the Factory” \u003cbr\u003e David Antin, “Warhol: The Silver Tenement” \u003cbr\u003e William Wilson, “Prince of Boredom: The Repetitions and\u003cbr\u003e Passivities of Andy Warhol” \u003cbr\u003e John Coplans, “Early Warhol: The Systematic Evolution\u003cbr\u003e of the Impersonal Style” \u003cbr\u003e\u003cbr\u003e 4 FROM CENTER TO PERIPHERY: OTHER FIGURES\u003cbr\u003e Allan D’Arcangelo\u003cbr\u003e Vivien Raynor, “In the Galleries: Allan D’Arcangelo” \u003cbr\u003e Nicolas Calas, “Highways \u0026amp; By-ways” \u003cbr\u003e Jim Dine\u003cbr\u003e Alan R. Solomon, “Jim Dine and the Psychology of the New Art” \u003cbr\u003e Robert Pincus-Witten, “New York: Jim Dine” \u003cbr\u003e öyvind Fahlström\u003cbr\u003e Torsten Ekbom, “Öyvind Fahlström: Models of Shattered Reality” \u003cbr\u003e Robert Indiana\u003cbr\u003e G. R. Swenson, “The Horizons of Robert Indiana” \u003cbr\u003e Jan van der Marck, foreword from exhibition catalogue, Robert Indiana \u003cbr\u003e Mel Ramos\u003cbr\u003e Jay Jacobs, “In the Galleries: Mel Ramos” \u003cbr\u003e Robin Skelton, “The Art of Mel Ramos” \u003cbr\u003e Edward Ruscha\u003cbr\u003e Nancy Marmer, “Edward Ruscha, Ferus Gallery” \u003cbr\u003e John Coplans, “Concerning ‘Various Small Fires’:\u003cbr\u003e Edward Ruscha Discusses His Perplexing Publications” \u003cbr\u003e George Segal\u003cbr\u003e Allan Kaprow, “Segal’s Vital Mummies” \u003cbr\u003e John Perreault, “Plaster Caste” \u003cbr\u003e Peter Saul\u003cbr\u003e Jack Kroll, “Reviews and Previews:\u003cbr\u003e New Names this Month: Peter Saul” \u003cbr\u003e Ellen H. Johnson, essay from exhibition catalogue, Peter Saul \u003cbr\u003e Wayne Thiebaud\u003cbr\u003e Thomas B. Hess, “Reviews and Previews:\u003cbr\u003e New Names this Month: Wayne Thiebaud” \u003cbr\u003e Diane Waldman, “Thiebaud: Eros in Cafeteria” \u003cbr\u003e John Wesley\u003cbr\u003e Donald Judd, “In the Galleries: John Wesley” \u003cbr\u003e Tom Wesselmann\u003cbr\u003e Brian O’Doherty, “‘Pop’ Show by Tom Wesselmann Is Revisited” \u003cbr\u003e J. A. Abramson, “Tom Wesselmann and the Gates of Horn” \u003cbr\u003e\u003cbr\u003e 5 REVISING POP: LATER CRITICAL REFLECTIONS\u003cbr\u003e Max Kozloff, “American Painting during the Cold War” \u003cbr\u003e Roland Barthes, “That Old Thing, Art . . .” \u003cbr\u003e Robert Hughes, “The Rise of Andy Warhol” \u003cbr\u003e Lynne Cooke, from “The Independent Group:\u003cbr\u003e British and American Pop Art, a ‘Palimpcestuous’ Legacy” \u003cbr\u003e Bruce Altshuler, from “Pop Triumphant: A New Realism” \u003cbr\u003e\u003cbr\u003e CHRONOLOGY\u003cbr\u003e An Exhibitions Chronicle: 1958–1970,\u003cbr\u003e Steven Henry Madoff and Alexandra Muse \u003cbr\u003e\u003cbr\u003e INDEX\u003cbr\u003e  ","brand":"University of California Press","offers":[{"title":"Default Title","offer_id":49402806108503,"sku":"9780520212435","price":31.5,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780520212435.jpg?v=1730481562","url":"https:\/\/bookcurl.com\/products\/pop-art-9780520212435","provider":"Book Curl","version":"1.0","type":"link"}