critic text by Oreste Lo Pomo
It was 1962 when Andy Warhol began his series of prints Campbell's Soup and Disaster.
Serigraphs that established him as the "Pope of Pop". Edited pictures
radically conventional notions about art and aesthetics. At the center
there were no more attention to the creativity and originality, but industrial products
longer in use in the consumer society, presented as works of art. It was the moment of
triumph of mass reproduction, the reproduction which is materialized in art
that reflected the contemporary lifestyle. Materializes, so, the result of a
actual hurricane that brought on the U.S. art scene of the year
sixty Pop art with the inspiration that are inspired by objects used in
daily by images of mass culture by converting them into works of art. Pop
as popular as ironic contrast to abstract expressionism, as an attempt
search for new radical principles by giving consideration to the spread of
materialism and consumer culture, ranging from the glorification and criticism
American mass culture, its products and its brand-name celebrities. A
process that reached right into the assumption of creating the artist-machine that produces up
industrial scale without emotion. Pat Hackett said that the strength of Andy was
remove the feeling from the painting. A focal point but also a kind of
paradox is that 'its another Andy, the artist born in Monza in 1971 and became
Prophet of the power of pop that migrates on a journey where the shapes of
reproducibility, the icons of the genius of Pittsburgh received attention and continued with a
originality (if the assumption of the opposition to the expression of nouveaux
Realistes was abjured the 60) in the works of the Lombard fa '
overbearing way through the visionary dimension, almost hallucinogenic us
port in a parallel reality that - well said
Argentieri clear - it looks like, but will not play, that known. Icon painting in
such as the myths of American culture are interwoven with the totem of middle-class in a
one with the symbols of the Italian economic boom. Disney cartoons and artworks,
Donald and Daisy Duck, the Fiat 500, the Venus de Milo, Sophia Loren and Marcello Mastroianni,
Bush and Marilyn (the icon of icons fitting tribute to Warhol genie)
Isabella Rossellini, Condoleezza Rice and Belen Rodriguez. Myths of the past and new stars,
symbols of that power pop that does not die but regenerates in the search for new idols
reported on canvas in a psychedelic, visionary, original (in the sense of
distinguishable from the signs of early conceptual) and interspersed
summary tables of a view of the whole technicolor in excess of the HD and becomes
3D as in revisiting the "Big Apple" of hip hop, soubrette, yellow taxis and
the inevitable statue of liberty. A suggestion cherivive even dream of
Vespa, where the 50 motorized symbol of Italy are intertwined in a game
words "verspa dream" with a kind of reference to poetry with references to "Cupid"
the classical tradition. But the design is that Andy reopen 71 of the showroom
temptations from the game on the radio, to the penny pop (mythical, whimsical mangiadischi) until
to say the "Diabolik box", a kind of magic box that takes us into the world
Cartoon Diabolik and Eva Kant. But the strength of the painting of Andy goes beyond this
characterized by a characteristic color which can sometimes seem exaggerated but,
however, is consistent with that third dimension that is dreaming
the additional element of strong emotional impact and that is the dominant character and
innovative Pop power.
