ABSTRACT
Carla Lonzi was a groundbreaking Italian writer and critic, well known for her book of artists' interviews and her activities as a feminist. When one talks about the end of Informel, it literally means the end of the liberatory function connected to automatic practice in painting. Since the term Informel helped to promulgate postwar artists’ works in a light that was perhaps too general, though not incompatible with a fair approach to the problem, it is unsurprising that the terms Neo-Dada and Pop art create ideal ground for socio-ideological interpretations, which the people have had a foretaste of in Italy. Suffocated by the heavy pressure of the products of an artificial, technological universe, the mass man risks forgoing beauty, believing it to be the appanage of times gone by, museum pieces, or resigning themselves to a distorted version of it; so the people are told by sociologists stimulating the vocations of the usual saviors of the world.
