Капіталістичне За Формою, Національне За Змістом: Поп-Арт В Українському Радянському Естрадному Плакаті

Косів В. М.
2018 Zenodo  
"National in form, socialist in content" — this well-known formula of socialist realism was ap­plied in all Soviet arts, including posters. Till the end of the 1980s, the majority of works (not only in Ukraine but also in other Soviet republics) communicated mes­sages, generated by the communist party, using some local "atmosphere " — national costume, ornament, landscape. In this context, Ukrainian Pop Art posters are the total opposites. First, within the framework of the Soviet state
more » ... ions, it was difficult to imagine legal circulation of such anti-Soviet graphics. Second, the names of the ensembles emphasize national ori­gins — "Kobza ", "Smerichka ", "Vodohray ", but, they have no national elements in the poster design. On the contrary, Ukrainian content is illustrated in the spirit of global mass culture, which gives it unexpected con­notations. Objectives. The objective of the article is to trace the motifs and techniques of Pop Art as well as the combi­nation of the "capitalist" form and national content on the Soviet Ukrainian popular music posters. Results. Pop Art stylistics of the Ukrainian posters imi­tate well-known American and British artworks. These are collages of various images, text-and-illustration dy­namic juxtapositions, as well as particular motifs such as radial beams, "flashes " borrowed from comic books, colored halos, radical perspectives, and bulk metallic lo­gos. Pentagram shapes indicate the coincidence of the American and Soviet symbols (which in the Ukrainian case could be justifiedfor censors), but in such stylistics, it looked quite ambiguous. Color vibrations are used along with the popularity of Optical Art. Type design and lettering were important elements of the Pop Art posters. In many cases, music bands or artists names dominate the composition. Often, they appear as three-dimension­al blocks in perspective, mimicking street signs and re­flecting the environment of a modern city. Logotypes for many bands follow the covers of Western music albums, which in turn res [...]
doi:10.5281/zenodo.1406588 fatcat:m7vlt2lurzdwfmb2ffz6htcv4u