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Pop Art: A Critical History (Documents of Twentieth-Century Art) Paperback – November 15, 1997

ISBN-13: 978-0520212435 ISBN-10: 0520212436 Edition: 2nd
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Editorial Reviews

From Library Journal

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. Most are culled from contemporary American art magazines and newspapers during the Pop era of the 1960s. Students and specialists alike will find overlooked or forgotten material here and will especially note that many early discussions still ring true today. The book's five sections are precursors, reviews dating from 1962 to 1970, major artists (Lichtenstein, Oldenburg, Rosenquist, and Warhol), 11 artists on the periphery, and a few articles from the 1970s to the 1990s. Discussions of single artists are most interesting, with the one on Warhol a standout. There is heavy reading but also journalistic stylings that will appeal to anyone interested in American culture of the Sixties. Highly recommended.?Mary Hamel-Schwulst, Towson State Univ., Md.
Copyright 1997 Reed Business Information, Inc.

Review

"To understand where we are in American art, we need 'Pop Art: A Critical History' 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."--Michael Kimmelman, Chief Art Critic, "New York Times
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Product Details

  • Series: Documents of Twentieth-Century Art
  • Paperback: 450 pages
  • Publisher: University of California Press; 2nd edition (November 15, 1997)
  • Language: English
  • ISBN-10: 0520212436
  • ISBN-13: 978-0520212435
  • Product Dimensions: 7 x 1 x 10 inches
  • Shipping Weight: 2 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #309,010 in Books (See Top 100 in Books)

More About the Author

Steven Henry Madoff, award-winning art critic, curator, poet, and educator has curated internationally and published widely over the last quarter of a century. He has served as Executive Editor of ARTnews magazine, is a Contributing Editor at Modern Painters and ARTnews, was President and Editorial Director of a division of the Museum of Modern Art in New York, lectures on contemporary art and education throughout the world, and has held the position of Senior Critic at Yale University's School of Art. He is the founding Chair of the Masters in Curatorial Practice at the School of Visual Arts in New York. His books include Art School (Propositions for the 21st Century) published by MIT Press; Pop Art: A Critical History, from University of California Press; and Christopher Wilmarth: Light and Gravity, from Princeton University Press, among many others. His criticism and journalism have appeared regularly in such publications as the New York Times, Time, Artforum, Art in America, Art + Auction, Tate Etc., as well as ARTnews and Modern Painters. He is the author of monographic essays on such artists as Marina Abramovic, Rebecca Horn, Kimsooja, and Ann Hamilton, among many others. He has been a curator for the Venice Biennale and most recently directed a multi-platform program of exhibitions and events, "Host & Guest," at the Tel Aviv Museum of Art. He is the recipient of numerous grants and awards, including those from the National Endowment for the Arts and the Academy of American Poets. He holds his Ph.D. from Stanford University and his B.A. from Columbia University, where he was the Butler Scholar in the Humanities. He is currently at work on a book concerning the history and theory of interdisciplinary art practices from Wagner to the present.

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Most Helpful Customer Reviews

13 of 15 people found the following review helpful By A Customer on October 8, 1997
Format: Paperback
As the editor of this anthology, I wanted to pass on another review that the book has just received. My own quibble with the review from Kirkus is that I don't really understand why they would think that a 400-plus-page anthology of historical articles would be "a cozy read." The purpose of the book is to give a broad and deep view of what critics, journalists and art historians thought about Pop as it developed. It's not meant to be a page turner. It's meant to be a reference work full of useful and interesting pieces, some academic, some not. Here, in its entirety, is what "Library Journal" said: "This not-to-be-missed anthology collects stimulating articles, interviews, and other texts defining 'the phenomenon of Pop.' Madoff contributes a fine introductory overview, then presents 94 critical articles, both negative and positive, on this brash, vulgar, and successful style. Most are culled from contemporary American art magazines and newspapers--sometimes offering monthly entries--during the height of the Pop era of the 1960s. Students and specialists alike will find overlooked or forgotten material here and will especially note that many early discussions still ring true today. The book is divided into five sections: the precursors; reviews of work done from 1962 to 1970; the major artists (Lichtenstein, Oldenburg, Rosenquist, and Warhol); 11 artists on the periphery; and, finally, a few articles from the 1970s to 1990s. Discussions of single artists are most interesting, and Andy Warhol remains a standout. There is heavy reading but also journalistic stylings that will appeal to anyone interested in American culture of the Sixties. Highly recommended.--Mary Hamel-Schwulst, Towson State Univ., Md (LJ 10/1/97)"
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6 of 6 people found the following review helpful By Boursin on January 4, 2005
Format: Paperback
To put it briefly, I concur with the review from the Library Journal which the editor of the book quotes below. This is the best anthology of critical writing on Pop, and it largely supersedes previous ones such as Carol Mahsun's Pop Art: The Critical Dialogue. My only quibble is with the assertion in the editorial introduction that the work of Jim Dine and Tom Wesselmann is somehow "less incisive" (read "less impressive") than that of the "four-headed goliath named Lichtenstein-Oldenburg-Rosenquist-Warhol". It isn't, and neither is it less Pop than that of the goliath.
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