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184 Chapter 9 Postmodernism

of course object that Warhol’s merging of high and popular is a little misleading.
Whatever the source of his ideas and his materials, once located in an art gallery the
context locates them as art and thus high culture. John Rockwell argues that this was
not the intention or the necessary outcome. Art, he argues, is what you perceive as art:
‘A Brillo box isn’t suddenly art because Warhol puts a stacked bunch of them in a
museum. But by putting them there he encourages you to make your every trip to the
supermarket an artistic adventure, and in so doing he has exalted your life. Everybody’s
an artist if they want to be’ (120).
Huyssen (1986) claims that the full impact of the relationship between pop art and
popular culture can only be fully understood when located within the larger cultural
context of the American counterculture and the British underground scene: ‘Pop in the
broadest sense was the context in which a notion of the postmodern first took shape,
and from the beginning until today, the most significant trends within postmodernism
have challenged modernism’s relentless hostility to mass culture’ (188). In this way,
then, postmodernism can be said to have been at least partly born out of a generational
refusal of the categorical certainties of high modernism. The insistence on an absolute
distinction between high and popular culture came to be regarded as the ‘un-hip’
assumption of an older generation. One sign of this collapse was the merging of pop
art and pop music. For example, Peter Blake designed The Beatles’ Sergeant Pepper’s
Lonely Hearts Club Band album; Richard Hamilton designed their ‘white album’; Andy
Warhol designed the Rolling Stones’ album Sticky Fingers. Similarly, we could cite the
new seriousness emerging in pop music itself, most evident in the work of performers
such as Bob Dylan and The Beatles; there is a new seriousness in their work and their
work is taken seriously in a way unknown before in considerations of pop music.
Huyssen also detects a clear relationship between the American postmodernism of
the 1960s and certain aspects of an earlier European avant-garde; seeing the American
counterculture – its opposition to the war in Vietnam, its support for black civil rights,
its rejection of the elitism of high modernism, its birthing of the second wave of
feminism, the welcome it gave to the gay liberation movement, its cultural experiment-
alism, its alternative theatre, its happenings, its love-ins, its celebration of the every-
day, its psychedelic art, its acid rock, its ‘acid perspectivism’ (Hebdige, 2009) – ‘as the
closing chapter in the tradition of avantgardism’ (Huyssen, 1986: 195).
By the late 1970s the debate about postmodernism crossed the Atlantic. The next
three sections will consider the responses of two French cultural theorists to the debate
on the ‘new sensibility’, before returning to America and Fredric Jameson’s account of
postmodernism as the cultural dominant of late capitalism.

Jean-François Lyotard

Jean-François Lyotard’s (1984) principal contribution to the debate on postmodernism
is The Postmodern Condition, published in France in 1979, and translated into English