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HIGH ART HIPOCRISY: Intersections of Cartoons and Fine Art Main MenuIntroductionThe Birth of the NewspaperComics: Taking Over the Sunday SupplementComics in the Early 1900sThe 1913 Armory ShowShowtime! New York City, Chicago, and BostonThe Critiques and The ComicsThe Pop Art Movement, Roy Lichtenstein, and Comic BooksDeconstructing Perspectives of Lichtenstein’s Work: Pro-Appropriation or Pro-Cartoonist?The Rise of 1940s Comic Books in the Late 20th CenturyComics in MuseumsThe MoMA “High and Low” ShowArt Spiegelman’s Response to MoMA High and LowComics in Museums TodayAbstract ComicsCora's Curation of Abstract ComicsReferencesCora Hernandezca60d402b432a51ad192c7a6d79f42e30854c48e
Throughout fine art history, beginning all the way back in 1450, vastly different types of comics and cartoons have existed as a form of published entertainment, bringing friends and families together for centuries. However, comics and cartoons have failed to be accepted into traditional art establishments because they have historically been looked upon distastefully as they are considered a product of commercial production and mass distribution. Pop Art and appropriation art are included within the fine art movement, even when they employ commercial goods and cartoon elements --- a hypocritical exclusion of cartoonists and illustrators from existing in a respected space they deserve to occupy.
1media/Screenshot 2024-08-14 at 2.10.57 PM_thumb.png2024-08-14T11:14:57-07:00Art Spiegelman's response to Lichtenstein's artwork in "High Art Lowdown"1Art Spiegelman's response to Lichtenstein's artwork within "High Art Lowdown"media/Screenshot 2024-08-14 at 2.10.57 PM.pngplain2024-08-14T11:14:57-07:00