Counter-culture, Feminism and Politics
The challenges of Pop art seen through the global lens
Bibliographic Data
| ID | 3872742 |
|---|---|
| Authors | Marine Schütz (corresponding author) |
| Year | 2016 |
| Volume | 46 |
| Issue | 46 |
| Publication date | 2016-05-20 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Critique d’art (JOURNAL) |
| Journal identifiers | ISSN: 1246-8258 • E-ISSN: 2265-9404 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/critiquedart.21171 |
| OpenAlex | W2412492457 |
| Language | EN |
| References cited | 1 |
When the history of Pop art reached the dawn of a global landscape which put New York in a central position, it overlapped with two invisible phenomena: artists on the sidelines of the western world, and women artists. Under the effect of varied means of communication, the dissemination of American culture encouraged a certain standardization. The fact remains that “there is not one universal pop but rather hundreds of iterations”. When the study of the competing pop involvements of activitie
Aesthetics · Art · Feminism · Optics · Physics · Political science · Politics · Sociology · Art, Politics, and Modernism · Cultural Industries and Urban Development · Gender Studies · Law
| Highly cited | No |
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