Body Art

Neia Assisi

Pop Art (Folk Art)

The artists in the 1960s advocated a popular art (pop) who communicated directly with the public through signs and symbols drawn from the imagery that surrounds the mass culture and everyday life. The defense of popular art reflects an attitude contrary to the closed nature of modern art. Pop art in this sense stands in the art scene that takes place in the late 1950s with a movement that refuses to separate art / life. And it does so in one of his characteristic traits: the incorporation of comics, advertising, film and television images. Lawrence Alboway

One of the first and most famous relating the British critic Lawrence Alloway (1926-1990) would call pop art is a collage of Hamiltom Richard (1922). What makes them extremely today's homes so different, so appealing? 1956. The composition of a domestic scene is made with the help of ads taken from magazines of general circulation. It shows a couple with (and how) the attractive objects of modern life: television, vacuum cleaner, canned products, packaging, etc.. Ads are detached from their contexts and transposed into the artwork, but the memories of their original place. By bringing art and commercial design, the artist blurs, deliberately, the boundaries between popular art, or between high art and mass culture.

The new attention given to common objects and everyday life finds its precursors in the anti-art Dadaists and Surrealists. The American artists also make some reference to the figurative tradition place: three-dimensional collages of Robert Rauschenberg (1925-2008) and flat images, and emblematic of Jhons Jasper (1930), which opens the art for the use of images and objects attached in daily life. In dealing with this specific plastic repertoire is not observed and the load subjective lyric-dramatic gesture characteristic of Abstract Expressionism which, incidentally, pop art, says the parodic form in works like "strokes, (1965) of Lichenstein.

In the U.S. group's name Wesselmann binds the still lifes composed of commercial products, Lichtenstein, the comic-Whaam!, (1963) and Oldemburg more directly the sculptures: Double Hamburger, (1962).

The multiplication of images highlights the idea of anonymity and also the decorative effect. The prominent image and reproduced mechanically, with the help of the silkscreen, removes any trace of the artist's gesture. The celebration of wealth and fame, faces, from 1963, co tragedies, with racial violence and wars (the Cold War, Vietnam). Dates from this period Raise Racial Red 1960, Electric Chair, 1964.

In Brazil, pop art suggestions were worked in the 1960s by Antonio Dias (1944) - "Honey, are you okay?" 1964, "Note on the sudden death," 1965 and "Mommy broke the glass," 1967 among others. However, the incipient in Brazil proliferation of means of mass communication, in the 1960s, leads, these artists bring the techniques of pop art (silkscreen and high-contrast) the subjects engaged in politics.