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Comic Art in Museums$
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Kim A. Munson

Print publication date: 2020

Print ISBN-13: 9781496828118

Published to University Press of Mississippi: May 2021

DOI: 10.14325/mississippi/9781496828118.001.0001

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PRINTED FROM Mississippi SCHOLARSHIP ONLINE (www.mississippi.universitypressscholarship.com). (c) Copyright University Press of Mississippi, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSSO for personal use.date: 25 September 2021

High Way Robbery

High Way Robbery

Chapter:
(p.243) High Way Robbery
Source:
Comic Art in Museums
Author(s):

Michael Dooley

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781496828118.003.0027

This chapter includes a 1990 review of High and Low: Modern Art, Popular Culture by graphic design journalist Michael Dooley. His critique of the exhibit as seen in Los Angeles: “The show failed, and not simply by the standards of right- and left-wing axe-grinders. More importantly, and sadder still, it failed on its own terms. The show’s attendees never arrived at an interchange; instead, they were stuck on a one-way drive up the high road.” This chapter discusses specific works of art, comics, and advertising and contains an overview of the surrounding art world politics. Images: 2 exhibit photos (MoMA), 3 ads referencing pop culture.  This chapter also includes the essay “My Way along the High Way.” This is a 2017 essay by graphic design journalist Michael Dooley, written as an afterword to his 1990 article "High Way Robbery” about High and Low: Modern Art, Popular Culture and its legacy. This afterword discusses ongoing interaction between pop culture and fine art, specifically Jeff Koons, Ed Ruscha, R. Crumb, Harvey Kurtzman, Art Spiegelman, and the exhibition Masters of American Comics.

Keywords:   Advertising and fine art, Comics and fine art, High and Low: Modern Art, Popular Culture, Art world politics, Graphic design

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