High vs. Low


Art commonly carries references to popular culture. Roy Lichtenstein achieved widespread renown in the early 1960’s for his iconic American Pop subject matter.  His work, largely inspired by comic strips, and his techniques, which combined aspects of mechanical reproduction and drawing, eventually fueled a movement of criticism.  


While so-called high art was once reserved for distinguished galleries, low art was resigned to lesser alternatives. Inarguably, many still make distinctions between high art and low art, but with the rise of genres like graffiti art, comic book art, tattoo art, Pop art, and folk art, to name a few, these distinctions blur. 


If abundance and availability are what constitute low art, social media has made it so that all culture is low culture, all art is low art. We can readily share and stream all works equally across the web.


Law Alsobrook writes, “violent flash, my shelter, this singularity of absence, the path of nerves, now of space & land.” According to the poem, from here the canvas springs to life, as our arms furiously remake our ruined life.  


Roy Lichtenstein argued that high art and popular art are one in the same —they are both filtered through (and dependent on) language. Perhaps it is only what we feel and say about a work that either elevates or denounces it, and not any characteristic inherent within the work itself.



Welcome to ISSUE 26 of Petite Hound Press, which we have been loosely calling our “Lichtenstein Issue” because it was inspired, in part, by Lichtenstein’s bold and angsty frames.




POET Law Alsobrook is an Assistant Professor of Graphic Design at VCU in Qatar. He is also Co-Editor and Art Director for Diode Editions Diode Poetry Journal. He has work published or forthcoming in The Volta, Typehouse Literary Magazine, After the Pause, Noema, & Technoetic Arts: A Journal of Speculative Research. In addition to his other activities, he is a member of the Planetary Collegium where he is pursuing his PhD from the Centre for Advanced Inquiry in the Interactive Arts, at Plymouth University in the UK.


ARTIST Jen Werner is a writer whose fiction has been published in H.O.W. Journal, Atticus Review, and Gigantic Sequins. Since 2010, Jen has worked as a reader and online editor for The Literary Review, and is currently a contributing editor. In 2015, Jen launched the Writerly States project, a video documentary series comprised of interviews with writers around the country. She has also published a book, Lost in the Light, with painter Angela Fraleigh, which coincided with an exhibition at the Vanderbilt Mansion Historic Site in Hyde Park, NY. She received her M.F.A. in Creative Writing from Fairleigh Dickinson University and currently lives in Brooklyn, NY.

 >> JEN WERNER.COM <<        >> @jenwernerr <<


GRAPHIC DESIGNER Michael Cassera earned a BFA in Theater Design at VPA -- Syracuse University College of Visual and Performing Arts. Today he works as the Head of Lighting with a theatre on the Las Vegas Strip, and he practices pinhole and other film photography in the Mojave Desert.




Editors' Note Reference:

The Art Story Foundation. (n.d.). "Roy Lichtenstein: American Artist and Sculptor." Retrieved from 



Stamberg, Susan. (2012, Oct. 15). "One Dot At A Time, Lichtenstein Made Art Pop." Retrieved from 


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