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Pop Art: The Industrialization Of Art

Why do we love it so much?

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The twentieth century has drastically changed the way the world works. Technology had never advanced so fast, and things seemed more and more immediate. And that’s when the mass media came into being, and ever since then the world has never been the same. Radio, television, movies. Everything was becoming popular, and people were enjoying it, especially the people at the top of the process: the “bosses.” After the fall of power from religion – announced by Nietzsche: “God is dead” – and from the capitalist explosion, the industrial media arrived at the right time to transform the nations into masses. 
Art no longer mattered. Now money took the reins of cultural production. And like all capitalist production, it was molded, on a large scale, into what Theodor Adorno called the Cultural Industry. 
“The technique of cultural industry only came to standardization and mass production, sacrificing what the logic of the work distinguished itself from the logic of the social system.” said Adorno 
Peer communication gave way to mass communication, in which everyone, authoritatively, receives the same message, losing its place as subject. It’s all standardized, repeated. The productions use the same formulas (that guarantee the success of sales) in everything that is film, program of television and radio, commercial, etc. The artist’s originality gave way to the profitable clichés of the industry, something we often see in watches industry producing Hublot watches, Rolex watches and so on. 

In the midst of these cultural breakthroughs and technical development emerged, in the late 1950s, the artistic movement called Pop Art. Now that the masses were being hit, art became a product and technical reproducibility surfaced, artists of that era began to works that reflected and criticized the world scene. 

Traditionally, the Independent Group of England has been recognized as pioneers of Pop Art. In Richard Hamilton’s book, What Exactly Makes Today’s so Different, So Attractive? For example, he perfectly expressed the American Way of Life – the idea that the more products you have, the happier it is. 
It was precisely with the advancement of printing techniques, mainly serigraphy, and supporting materials, such as gum, foam, polyester and acrylic, that these artists reflected the spirit of the cultural industry. Art no longer has an aura. It could be reproduced indefinitely, like any consumer product. 
The term “pop” comes precisely from the popular feature that this art sought to achieve. It was not enough to produce works for cultural elite. The culture now belonged to the people, and to them were intended the productions. As everything became a product, nothing else was unique and individual. The food was the same. The soda was always the same. The novel I watch is the same one my friend from another state sees. Standardization was distributed to the (consumer) masses, and neither the factory nor human beings were spared. Elvis Presley and Marilyn Monroe were not individuals; were consumer goods. Their bodies became mere images, expensive images that were sold in the cultural malls of the world. Andy Worhol, Pop Art’s greatest exponent, represented this depersonalization and objectification of celebrities in their works, technically reproducing pictures of them. You could have 3, 6, 9, or as many Marilyns as you wanted. It was just a product on an assembly line. 

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