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Alloway, the Englishman who coined the term Pop Art, provided the rationale: the comics, labels, and trademarks that the Pop artists liked were not representations of external reality.
God knows, the Pop artists themselves entered into the spirit of the thing.
-whereas Pollock, Newman, Rothko, the whole push, in fact, had their own early antibourgeois boho ideals hovering over them forevermore like the most vengeful and vigilant superego in the history of psychology-the Pop artists double-tracked with about as much moral agony as a tape recorder.
Lichtenstein, the Pop artist, liked this notion so much, or was so amused by it, that he did a series of Brushstroke paintings, each one a blowup of a single "Tenth Street touch" brushstroke, with every swirl and overloaded driblet represented-but rendered in the hard, slick commercial-illustration unpainterly style of Pop, with no brushstrokes of his own whatsoever to be seen.
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