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El Cómic Underground Y Su Relación Con El Lowbrow Art. Underground Comic and Its Relation with Lowbrow Art

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El Cómic Underground Y Su Relación Con El Lowbrow Art. Underground Comic and Its Relation with Lowbrow Art Revista de Estudios en Sociedad, Artes y Gestión Cultural DOI: 10.17561/rtc.n12.3 http://revistaselectronicas.ujaen.es/index.php/RTC/index Estudio www.terciocreciente.com El cómic underground y su relación con el lowbrow art. Underground comic and its relation with lowbrow art. Sonia Puga García Recibido 30/05/2017 Revisado 09/06/2017 Departamento de Dibujo Aceptado 19/06/2017 Publicado 01/07/2017 Universidad de Granada, España [email protected] RESUMEN ABSTRACT El arte lowbrow y el cómic underground Lowbrow art and underground comics have guardan muchas similitudes. Ambos estaban many similarities. Both were created by young creados por una juventud cansada de la people tired of the society in which they lived and sociedad en que vivían a la cual criticaban they criticized it with a hint of irony. con un toque irónico. Lowbrow artists were influenced by comics in Los artistas lowbrow estuvieron influidos their childhood, which suffered censorship at a desde su infancia por los cómics, que time when the society was very puritan. sufrieron la censura en una época en la que la sociedad era muy puritana. No big publishers, no museums, no elitist art galleries bet on them, but they gained a place in the Ni grandes editoriales, ni museos, ni art world thanks to its revolutionary message that galerías de arte elitistas apostaron por ellos, broke with everything that had been done so far. pero se ganaron un sitio en el mundo del arte gracias a su mensaje revolucionario que rompía con todo lo que se venía haciendo hasta ahora. Sugerencia para citar este artículo Puga Garcia, S. (2017). El cómic underground y su relación con el lowbrow art. Tercio Creciente, 12, págs. 29-38. DOI: 10.17561/rtc.n12.3 Número 12 29 Julio 2017 Revista de Estudios en Sociedad, Artes y Gestión Cultural DOI: 10.17561/rtc.n12.3 http://revistaselectronicas.ujaen.es/index.php/RTC/index www.terciocreciente.com Estudio Palabras clave / Keywords Cómic, cómix, underground, Lowbrow Art. Sugerencia para citar este artículo Puga Garcia, S. (2017). El cómic underground y su relación con el lowbrow art. Tercio Creciente, 12, págs. 29-38. DOI: 10.17561/rtc.n12.3 Revista de Estudios en Sociedad, Artes y Gestión Cultural DOI: 10.17561/rtc.n12.3 http://revistaselectronicas.ujaen.es/index.php/RTC/index Estudio www.terciocreciente.com El cómic underground y su relación con el lowbrow art. Introducción: libremente lo que pensaban mediante sus dibujos, gracias a este grupo de artistas cuyo Mucho se está hablando últimamente líder era Crumb, el lenguaje del cómic sufrió de un movimiento artístico que se originó en un cambio que ha llegado hasta nuestros días. California llamado lowbrow o Surrealismo Pop, especialmente desde que en diciembre Crumb nació en Pensilvania pero se de 2016 el Centro de Arte Contemporáneo de trasladó a San Francisco donde creó el fanzine Málaga acogiera la exposición de la obra de Zap Cómix que comenzó como un comic- Mark Ryden, uno de los máximos exponentes book y seguía el movimiento contracultural de dicha corriente. de una juventud muy cansada de la sociedad en la que vivían. Esta publicación fue la que El movimiento lowbrow es fruto de popularizó el término cómix, con el cual se la influencia de otras manifestaciones como designaba a este nuevo tipo de cómic para el grafiti, el surf, el tatuaje, el arte erótico, el diferenciarlo del anterior. No se tiene muy hot rod o la cultura tiki entre otros. En este claro cual es el origen, pero se piensa que trabajo queremos destacar la importancia la ‘“x” hacía referencia a la clasificación del que tuvo el cómic y el cómic underground en mismo x-rated que significa “pornográfico” el nacimiento del lowbrow. o “no apto para menores”. Zap Cómix tuvo numerosas denuncias por los temas El cómic y el cómix underground que trataba como la política y el sexo, por aquel entonces muy revolucionarios ya A final de los sesenta nace el cómic que en Estados Unidos los cómics estaban underground, un tipo de cómic que se aleja principalmente dirigidos a niños y a jóvenes. de las grandes editoriales para apostar por En ella apareció por primera vez El Gato Fritz, las independientes, trata temas marginales, personaje creado por el propio Crumb que denuncia a la sociedad del momento y protagonizaba historietas que reflejaban lo conoció su máxima expansión en los años que la sociedad del momento vivía. Era un setenta. personaje que se alejaba de la belleza y de una conducta normal, más bien era todo lo Las dos grandes editoriales de los sesenta contrario, se dedicaba al consumo de alcohol eran Marvel y DC, los cómics underground y drogas o a la práctica desenfrenada del sexo. desde un comienzo rechazaron los Su autor no soportó la fama que consiguió mainstream para optar por la autoedición o este personaje y en uno de los capítulos por editoriales independientes. de sus historietas le mató. Otros de sus personajes más conocidos son Mr. Natural, El cómix underground se originó en Flakey Foont, Angelfood McSpade y Schuman San Francisco y uno de sus fundadores fue the Human. Crumb ganó mucha popularidad, Robert Crumb (Celis, 2016). Junto a él Gilbert llegó a diseñar portadas de discos de algunos Shelton, Vaughn Bodé, Justin Green, ‘Spain’ de los grupos de rock más importantes del Rodriguez o Victor Moscoso fueron los momento (Longui, 1995). creadores de historietas principales de esta nueva vertiente. Nacía así una generación de Gilbert Shelton fue pionero al crear a un dibujantes de cómic que pretendían expresar personaje con el que parodió a los superhéroes, Número 12 31 Julio 2017201 Revista de Estudios en Sociedad, Artes y Gestión Cultural DOI: 10.17561/rtc.n12.3 http://revistaselectronicas.ujaen.es/index.php/RTC/index Estudio www.terciocreciente.com se trata de Wonder Warthog, que en español álter ego de Justin Green era el rayo de luz se tradujo como “El Superserdo” (FIG. 1). Era un que salía de sus genitales. La historieta fue jabalí con superpoderes y lleno de verrugas pionera también en cuanto a duración, los que al igual que Superman se escondía detrás comic-book constaban normalmente de unas de la identidad de un periodista muy aburrido veintidós páginas, y esta se alargaba hasta que trabajaba para el periódico “El miope llegar a las cuarenta y cuatro, algo que nunca matutino”. También creó algunas historietas nadie había hecho en este campo. como “el gato de Fat Freddy” o los “Fabulosos Freak Brothers”, tres hermanos hippies A España también llegó el cómic consumidores de drogas y aficionados a buscar underground. Con formatos sobre todo problemas (Fernández, 2010). autoeditados entre los que destacan “El Rollo enmascarado”, “Paupérrimus Comixy” Justin Green fue conocido por ser y “Catalina”. También podemos destacar el creador de las novelas gráficas dentro de las publicaciones dedicadas autobiográficas y por sus duras críticas a los cómics alternativos la revista “El hacia la iglesia Católica. En su historieta Víbora” que tenía como lema “Cómix para “Binky Brown conoce a la Virgen María” él supervivientes” y que no solo se dedicó a mismo es el protagonista, y aparecía como publicar a dibujantes españoles sino que un adolescente que mostraba los problemas entre sus páginas encontrábamos a algunos propias de esa edad pero contados con de los grandes de Estados Unidos como cierta dureza para determinados públicos, Robert Crumb y Gilbert Shelton. ya que una de las preocupaciones de este “El Superserdo” (FIG. 1). wonder Wart- Hog. Fotografia de www.nmia.com FIG. 1. Wonder Wart-Hog. Fotografía de www.nmia.com Número 12 32 Julio 2017201 Revista de Estudios en Sociedad, Artes y Gestión Cultural DOI: 10.17561/rtc.n12.3 http://revistaselectronicas.ujaen.es/index.php/RTC/index Estudio www.terciocreciente.com Qué es el movimiento lowbrow sus principios, creaban obras provocadoras y cual es su relación con el cómic que causaban polémicas considerables en underground. aquella época. Muchos trataban de expresar sus sentimientos, sus miedos, su visión de la vida, El lowbrow es una corriente artística que burlándose de los referentes como la televisión, nació por la unión entre diferentes hechos de el consumismo, el cine, en general de la sociedad. la vida cotidiana que sucedían en las calles de Este movimiento nace en movimientos Estados Unidos, concretamente en California. callejeros de Los Angeles a partir de los años Personas muy diferentes como amantes de las setenta, y se le conoce por varios nombres motocicletas y coches customizados, surfistas, lowbrow, arte underground o surrealismo pop. skaters, hippies, dibujantes de cómic y muchos Las obras de esta corriente mezclan creaciones otros que tenían como principio alejarse de las absurdas próximas al surrealismo con carácter normas y seguir las propias suyas, en general sarcástico, e imágenes de la cultura popular los que iban en contra del sistema, venían a relacionadas con la publicidad o la cultura de contrastar con la sociedad conservadora y el masas. Los artistas tratan los temas de manera ideal de familia tradicional americana. irónica, y a pesar de que muchas de las obras Más adelante esta corriente tendría nuevas son provocadoras y vanguardistas, están fuentes de inspiración con la aparición de figuras realizadas con técnicas clásicas como óleo, como los grafiteros, los tatuadores o los punks. como las pinturas de Mark Ryden que estuvo Como dijo Anthony Ausgang en una entrevista profundamente influenciado por los maestros de para la revista “Wow x Wow”, el lowbrow está la pintura clásica. (FIG. 2) inspirado en muchas manifestaciones de la Muchos de los cómics underground tratan low culture, es decir, cultura inferior o de baja también temas de actualidad de manera categoría (WOW X WOW, 2014).
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