The deconstruction of comics in the production of Ana Peters (1964-1967): visual culture and gender awareness in Spanish pop
Abstract
This article analyzes the pictorial production of Ana Peters between 1964 and 1967, a period in which the artist developed a unique critical appropriation of comic book language. Using an interdisciplinary methodology that combines social art history, semiotic analysis, and feminist visual studies, this work examines how the strategies of fragmentation, repetition, and ellipsis of the vignette operated as mechanisms of contestation against the gender archetypes of late Francoism. The specific contribution of this research lies in unveiling how Peters' work does not constitute a mere mimesis of international Pop Art, but rather a visual counter-device that, by emptying mass consumption iconography of its content, highlights the fracture between the economic modernization of the developmentalist period and the persistence of patriarchal structures. The study concludes that, far from being a tangential practice, Peters' drawing stands as an exercise in semiotic resistance fundamental to understanding the emergence of gender awareness in the Spanish avant-garde of the sixties.
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