In the late 1950s and early 1960s, Chicago artist Idelle Weber turned the clean lines of commercial art into the service of ambiguous pop art silhouettes of people going about their daily lives.
"The silhouettes depict types—businessmen, office workers, couples, brides, families—in quotidian activities. By rendering the figures anonymous, the artist makes them universal: a viewer could occupy any of these roles. At the same time, the archetypal quality of the forms suggests standardization or commercialization, an implication underscored by the crisp outlines and broad forms that resemble advertisements. In these silhouette paintings, the artist leaves her intentions ambiguous. Whether critique or celebration of American culture, they offer a graphic appeal that reflects her Pop milieu." -- From the NYC Hollis Taggart gallery's exhibition of Idelle Weber,#PopArt, #ModernArt, #Collage, #ModLife, #FineArt, #Chelsea, #GalleryOpening, #NYC, #Silhouettes
Escorts (1960s), watercolor and collage
Ben Casey II (1962) 
Escalator (1964) 