PRINT December 1966

Present-Day Styles and Ready-Made Criticism

Black was never a color of Death or Terror for me. I think of it as warm—and generative. But color is what you choose to make it.

—Clyfford Still

THE CRITICAL ESTABLISHMENT HAS largely overlooked the formal contribution of Pop; in the rush to assure that history does not again make a fool of journalism, the impact-innovations (imagery, literary content and the role of the artist) have been proclaimed, and the underlayers of color, space, structure, scale and surface have been left unattended. Art News, scrupulously fair to Pop news in spite of its editorial bias toward Abstract Expressionism, said in an editorial, Pop and Public, that “ . . . it [Pop] has nothing to do with pictorial details or scale (most Pop Art has no scale ).”1 The criticism of Rauschenberg (who is not, in the strict sense, a Pop artist) and Lichtenstein (who is) stands as examples for the whole: Rauschenberg is usually

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