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Editorial

Demystification and Disruption

Laurence Grove, Anne Magnussen, and Ann Miller

Lichtenstein's pop art comic strip blow-ups, does not reinstate the high / low art divide but rather renders it irrelevant. Moreover, the perspectival rationality on which modernity is founded gives way to a postmodern art of the surface that establishes

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Introduction

Hugo Frey and Laurike in ‘t Veld

cover features a pop art–inspired blowup and assemblage of images relating to Dick Tracy, along with, four years after Lichtenstein’s Whaam (1963), an exaggerated comics text, with the expanded graphic reading, ‘CRACK’. This cover is not an example of

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“They don’t even know how to copy”

The discourse on originality in Albania’s art world

Sofia Kalo

, reference, appropriation, citation, odd conjunctures, pastiches, and other playful and ironic values tend to govern contemporary, postmodern production and taste. As a result, pop art, Earth art, installation art, performance art, pattern

Open access

Book Reviews

Maria Bucur, Alexandra Ghit, Ayşe Durakbaşa, Ivana Pantelić, Rochelle Goldberg Ruthchild, Elizabeth A. Wood, Anna Müller, Galina Goncharova, Zorana Antonijević, Katarzyna Sierakowska, Andrea Feldman, Maria Kokkinou, Alexandra Zavos, Marija M. Bulatović, Siobhán Hearne, and Rayna Gavrilova

political propaganda. Chapter 3 demonstrates that Americanization was not related only to popular but also to high culture in the context of pop art and abstract art. Chapter 4 brings into discussion the golden age of comic books, detective stories, and