PRINT October 2004



BY THE TIME POP ART EARNED ITS CAPITAL P, the British artists, architects, and intellectuals known as the Independent Group had produced a decade’s worth of future-focused art and polemic. It was critic and IG spokesman Lawrence Alloway who first used the term to capture the group’s enthusiasm for all things mass-produced and American. In the following pages his 1962 essay “Pop Since 1949” appears alongside Clement Greenberg’s “Pop Art.” The high-formalist critic’s reckoning with the movement that turned the tide against “pure painting” is published here for the first time. Together, these essays set the terms for the debate that this special issue of Artforum traces into the present. Contributing editor Thomas Crow opens this section devoted to pop before Pop with an essay that follows our thread from the eighteenth-century atelier of Jean-Antoine Watteau to the studios of London’s Royal

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