Editing Postmodern art (section)

===Pop art===
{{Main|Pop art|Western painting}}
[[Lawrence Alloway]] used the term "Pop art" to describe paintings celebrating [[consumerism]] of the post [[World War II]] era. This movement rejected [[Abstract expressionism]] and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated, material consumer culture, advertising, and iconography of the mass production age. The early works of [[David Hockney]] and the works of [[Richard Hamilton (artist)|Richard Hamilton]], [[John McHale (artist)|John McHale]], and [[Eduardo Paolozzi]] were considered seminal examples in the movement. While later American examples include the bulk of the careers of [[Andy Warhol]] and [[Roy Lichtenstein]] and his use of [[Benday dots]], a technique used in commercial reproduction. There is a clear connection between the radical works of [[Duchamp]], the rebellious [[Dada]]ist&nbsp;— with a sense of humor; and [[Pop Art]]ists like [[Claes Oldenburg]], [[Andy Warhol]], [[Roy Lichtenstein]] and the others.

Thomas McEvilly, agreeing with [[Dave Hickey]], says U.S postmodernism in the visual arts began with the first exhibitions of Pop art in 1962, "though it took about twenty years before postmodernism became a dominant attitude in the visual arts."<ref name="McEvilly29">Thomas McEvilly in Richard Roth, Jean Dubuffet, Susan King, ''Beauty Is Nowhere: Ethical Issues in Art and Design'', Routledge, 1998. p29. {{ISBN|978-90-5701-311-9}}</ref> [[Fredric Jameson]], too, considers pop art to be postmodern.<ref>Fredric Jameson in Hal Foster, ''Postmodern Culture'', Pluto Press, 1985 (first published as ''The Anti-Aesthetic'', 1983). p111. {{ISBN|978-0-7453-0003-0}}</ref>

One way Pop art is postmodern is it breaks down what [[Andreas Huyssen]] calls the "Great Divide" between high art and popular culture.<ref>Simon Malpas, ''The Postmodern'', Routledge, 2005. p20. {{ISBN|978-0-415-28064-8}}</ref> Postmodernism emerges from a "generational refusal of the categorical certainties of high modernism."<ref>Stuart Sim, ''The Routledge Companion to Postmodernism'', Routledge, 2001. p148. {{ISBN|978-0-415-24307-0}}</ref>