Italian artist Marco Battaglini takes Fine Art + Pop Culture x Painting to make ARTPOPCLASSIC®—a series of paintings that mix Classical and Renaissance art with brand names and urban graffiti. Battaglini sez “I would like to take the viewers and move them beyond the apparent.”
“It is normal to judge a neoclassical work as something ‘noble’, ‘refined’, ‘elegant’ and ‘beautiful’ and a graffiti on a wall as something ‘negligible’, ‘indecent’, ‘vulgar’ and ‘ugly’…I want to be the means to expand the perception of things. Through confrontation-union of diverse times, places, cultures, languages, ways of seeing reality.”
“The multiplicity of readings, which combines graffiti, symbols linked to Western culture and elements of pop art in a harmonious amalgam, forces us to rethink the values linked to the reality in which we live, shows the impact that the consumer society has on our way of living and thinking. We are not only consumers of products but also of images, icons, and symbolisations that are part of our culture. My work would be an invitation to see reality ‘without blinkers’, from above the forest, not as immersed in the specific context with limited analysis parameters. I want to create a cultural and semantic clash with a series of contrasts that induce the viewer to become aware of various contexts.”
Based in Costa Rica, Battaglini describes himself as the “Master of Fantasy.” The son and grandson of artists, Battaglini studied Art at the Liceo Artistico in Verona and then Accademia di Belle Arti in Venezia. During his studies, he fell under the sway of the Renaissance art, Surrealism, Abstract Expressionism, and eventually Conceptual Art. This magpie approach led Battaglini to develop a unique style of painting which he has practiced over the past twenty years that fused different styles, techniques, and ideas into one specific form, which he calls ARTPOPCLASSIC®. Battaglini’s technical mastery is superb. He considers his job as offering the viewer “an invitation to think that in today’s global village, with the ‘democratization’ of culture, the evolution of knowledge, information immediacy, immersed in the heterogeneity, the Patchwork Culture forces us to confront with a need understanding beyond our geographical boundaries of time.” See more of Marco Battaglini’s work here or follow him here.
‘Let’s Go Crazy.’
‘Il tempo fugge.’
See more of Marco Battaglini’s exquisite work, after the jump…
In 1969, Swiss advertising agency Gerstner, Gredinger + Kutter (GGK) launched an innovative campaign for Germany’s most popular soft drink: Sinalco Kola (distinct for its “sherbet powder” taste). It starred a brightly colored, life-sized blow-up party doll named Rita. With striking red hair, curly lashes, lush shapes, and a Sinalco Kola in hand, the campaign slogan boasted “Rita ist lieb,” which in English translates to “Rita is sweet.” “She will follow you everywhere: to parties, seaside holidays, or even into the bathtub. She does not smoke, does not drink, does not scold. Rita is all yours and she is not an expensive girl: she comes to you through the mail for 6,60 Deutsche Marks.” Yes, besides this colossal beauty’s presence in magazine advertisements, insert posters, TV ads, and in-store displays all over Germany, you could also have an inflatable Rita sent directly to your home for about $4 US.
Within two years of the campaign’s launch, Rita had quickly achieved cult status and helped Sinalco garner tons of attention, but more importantly, a unique personification and lasting impression that would help separate their brand from ubiquitous competitors such as Coca-Cola. In March of 1971, several inflated Rita’s were thrown from the roof of the Rhein-Main-Halle building during a trade fair as part of a spontaneous marketing stunt. Dozens of excited Wiesbaden residents ran through the streets with their Rita dolls, continuing their celebration in local pubs and train stations. By the mid-‘70s, every hippie in Germany owned this eye-catching piece of plastic pop art, and Rita’s became very common at public gatherings: from crowd surfing at outdoor music festivals to political protests. A male counterpart to Rita was created: a macho, muscular, spandex wearing man pathetically nicknamed “The Guy,” but Rita proved that her popularity could never be matched.
Rita blow-up party dolls can still be found floating around Germany, occasionally someone will sell one on eBay. She typically goes for about 70 euros, who can score me one?
Often referred to as the one of the “fathers” of Pop Art, painter and illustrator Peter Saul has been creating his mayhemic, often politically charged masterpieces since the 1950s and at his current age of 82 (Saul will turn 83 in August), he shows no signs of slowing down.
‘Ronald Reagan (Abortion),’ 1984.
Saul’s vibrantly jarring style will likely remind you of the weirdness found on the pages and on the covers of vintage Zap Comix, and the artist himself has been quoted as saying that his aim with his art was to somehow mesh the art of Dutch American abstract expressionist Willem de Kooning together with the classic images found in MAD magazine. I’m pretty sure after looking at the images in this post of Saul’s face-melting paintings, you would agree that he has successfully mashed up both artistic concepts along with a large, LSD-laced dose of Surrealism. In 2008 the New York Times described Peter Saul as “a classic artist’s artist, one of our few important practicing history painters and a serial offender in violation of good taste.”
With over 800 works under his belt to date, Saul’s paintings will be on display for the first time in Moscow (something the painter “never imagined” would happen) at the Gary Tatintsian Gallery under the amusingly title “You better call Saul!” And speaking of LSD, you can put yours away for now as the images that follow of GOP sweethearts like Ronald Reagan and George W. Bush, and well as other despots and degenerates like Adolf Hitler and O.J. Simpson, will likely conjure up a bonafide, drug-free flashback just by looking at them. Some (such as Saul’s wonderfully bizarre depiction of a three-headed Andy Warhol that I had to include), might be considered NSFW.
It all started a few weeks ago with a nice lady dropping by the record store with two cardboard moving boxes full of old newspapers. “I thought I’d see if anyone here wanted these before I threw them out.”
I looked into the first box and on top was an issue of The Village Voice from April of 1969. Without even hesitating I said “Yep, I’ll be happy to take these in.” Digging further, I saw that I was looking at two boxes full of old Voice issues from the late ‘60s—mega score. All I had in my pocket was ten dollars, but I offered it to the nice lady. “These are cool, please take my ten bucks. And THANK YOU!”
I started plowing through the contents of the two boxes when I got home that evening. All tolled, there were forty-five issues of the Voice dating between 1967 and 1969—one of the most interesting periods in U.S. history for art and radical politics. The Voice, at that time, was one of the major mediums carrying the anti-war message, not to mention reporting on the explosion of art, psychedelic thought, and counterculture. Every issue in those two boxes was a treasure trove of Vietnam era cool: Andy Warhol shot. Abbie Hoffman arrested. Eldridge Cleaver lecturing. Burroughs and Ginsberg hit up Timothy Leary’s LSD Center. Jimi Hendrix is playing this weekend. Janis Joplin is playing another. Hair is on Broadway. I Am Curious (Yellow) is at the cinema. EVERYONE is protesting. Cops are busting heads. I’m completely enthralled and lost in these stacks.
As I’m meticulously poring over the issues, I begin to notice the ads for one particular shop: Limbo. To say there was something special about these mystifying “anti-ads” is an understatement. My eye was drawn magnetically to the Limbo graphics. There was at least one in every issue. The designs were sort of a Dada/Pop Art hybrid, but actually quite unlike anything else—definitely unlike anything else in the Voice at that time. Sure, there were lots of era-typical psychedelic graphics advertising everything from fur coats to futons… but the Limbo ads weren’t exactly psychedelic… and they weren’t exactly advertising anything other than their own unique form. They seemed completely and beautifully out of place and time, something a step beyond the pop iconography of Warhol’s work from a few years prior. Familiar, yet obscure. Every image stopped me in my tracks and had me guessing at its mysteries.
Ads for Limbo as they appeared in the Village Voice.
I became obsessed. I went through every issue, specifically hunting each Limbo ad. They were all different. They didn’t repeat. All arresting and confounding.
Mesmerized, curious, needing to know more, I went to the Internet for information and with very little effort found that this long-defunct shop had both a handy Wikipedia entry and Facebook presence.
From what I discovered, I was surprised I hadn’t already known about Limbo. It was apparently the IT shop in the East Village. Writing in eye Magazine, Norman Steinberg described Limbo as “much more than just a clothing store. It is a social, intellectual, and entertainment experience that appeals to people of all ages, races, creeds, colors and political persuasions.”
Beyond being simply a retail shop, Limbo was a countercultural HUB for disaffected New Yorkers. The store, through a wholesale sales agreement with Fillmore East, dressed rock stars from Janis Joplin, Jimi Hendrix and Jim Morrison, to the New York Dolls and Velvet Underground. John Lennon, Yoko Ono, Andy Warhol and his “superstars” Baby Jane Holzer, Nico, Viva and Edie Sedgwick were all frequenters.
“Dress as decoration. Dress as defiance. Dress as decorum, or its opposite. That was at the heart of Limbo.”
Limbo sold not only typical “peacenik” clothes like Indian cottons and silks, but also military surplus for the Yippie warriors of the day. Limbo was one of the first sellers to make “vintage” clothing “hip,” calling the inventory on their flyers: “Dead Man’s Clothing.” Limbo is also often credited with starting the trend of “distressing” blue jeans before sale. As a retail shop, it served as a cultural focal point in the East Village—much in the same way that its successor served the early punk scene. Many of our readers may be familiar with the store which Limbo became after being sold in 1975: Trash & Vaudeville.
“Carefully Selected Dead Men’s Clothing For The Heads of All Nations”
As I thought about the notion of a shop like Limbo being a community axis, I was reminded of my own recent experience with the nice lady dropping off the two boxes of Village Voices at the record shop and felt connected to that tradition of storefronts being places that can exist beyond their capitalist function of exchanging goods and services for money—places that offer a space for like-minded individuals to meet and share ideas or pass things along simply because that’s a “cool thing to do.”
Scouring the photo galleries on Limbo’s Facebook page, I found many of the same striking ads I had seen in those Village Voice issues. Scanning through those, I located the name of the artist who had designed them: Ira Kennedy.
If it’s true that all’s fair in love and war, then it’s the share of the spoils after death and divorce that cause the most problems.
When Charlie’s Angels actress Farrah Fawcett died in June 2009, her will donated all of her art collection to the University of Texas—her old alma mater where she had studied before becoming an actress. Amongst Farrah’s treasured possessions was a portrait painted by Andy Warhol in 1980. This was in fact one of two paintings Warhol had made of the actress—the second was very soon to become the focus of a trial between the University of Texas and Fawcett’s ex-lover, the actor Ryan O’Neal.
O’Neal’s claim to the second painting rested on his testimony that he had first introduced Farrah to Warhol and had asked him to paint Fawcett’s portrait. He also claimed he had asked Warhol to make a second portrait so he and Farrah could have one each.
Andy Warhol shoots Farrah Fawcett.
In 1997, Fawcett split-up with O’Neal after she caught him in bed with another woman. O’Neal kept his portrait of Farrah above his bed, but as his girlfriends found the picture a tad off-putting, he asked Fawcett to hold on to it for him.
This Fawcett did until her death, when O’Neal removed the 40-inch by 40-inch silkscreen from her house. This action led to a trial between O’Neal and the University in December 2013 as to who was the rightful owner of the Warhol painting.
During the trial lawyers acting on behalf of the University of Texas attempted to discredit O’Neal’s story by using an edition ABC’s 20/20 where Fawcett is apparently seen asking Warhol to paint her portrait and is later filmed by the ABC news crew as Warhol snaps thirty Polaroid pictures of the actress in preparation for making the portrait.
O’Neal did not dispute that one of the Warhol’s belonged to his former long-term partner, it was the second painting that he claimed was his. Without any evidence to dispute this claim, the University were unlikely to win the case. O’Neal upped the ante by telling the jury he spoke to Farrah’s portrait every day:
“I talk to it. I talk to her. It’s her presence in my life and her son’s life. We lost her. It would seem a crime to lose it.”
O’Neal was on an operating table having a skin cancer removed when he heard the jury’s verdict that he was the rightful owner of the painting by nine jurors to three. Though the painting has an estimated worth of $12 million, O’Neal said he would never sell the picture as it meant too much to him, and it will be handed-down to their son Redmond after he dies.
This is that episode of 20/20 which featured so prominently in the trial. Originally made as a profile of Andy Warhol this short documentary does give some insight into the pop artist’s working techniques and has some typically Warholian moments.
A key exhibition in the history of Pop Art was the “First International Girlie Show” in January 1964. This was the event that promoted works by Andy Warhol, Roy Lichtenstein, Tom Wesselmann, Mel Ramos, Marjorie Strider and Rosalyn Drexler.
Drexler and Strider were the only women artists included in the exhibition. Though they provided a large percentage of the work on display, and received much of the critical acclaim, they never quite reached the international success that was achieved by Warhol or Lichtenstein. Strider became an important part of the New York avant garde, while Drexler went on to an award-winning career as playwright and novelist.
Born in the Bronx in 1926, Rosalyn Drexler graduated in voice from the New York High School of Music and Art. In 1946, she married figurative painter Sherman Drexler, and was the subject of many of his paintings.
After starting a family, Rosalyn opted for a brief career as a professional wrestler under the name “Rosa Carlo—the Mexican Spitfire.” Drexler didn’t enjoy her time wrestling, finding it painful and exhausting. Interestingly, Drexler’s career would later inspire Warhol to create a series of works based on Polaroids of her wrestling alter ego, and it also provided the basis for her own best-selling novel To Smithereens in 1972.
“Rosa Carlo the Mexican Spitfire, that was my name. When I came on everybody said things in Spanish that I didn’t understand. Probably it was ‘Kill ‘em’ or ‘Go get ‘em.’ It was a strange thing for a young woman to do. I was married, had a daughter, four years old.
“I went to the gym on 42nd St. I used to work out. The carney people used to work out there and wrestlers.
“These were show business people. I was learning Judo. I thought it’d be interesting to learn some Judo. I heard about a guy who was organizing a women’s wrestling team. It consisted of walking around in a bathing suit. They asked ‘Will your husband let you?’ So they called and they needed someone in Florida so I went.
“To Smithereens is a book about it. Now people are interested in wrestling and I can’t get the book re-published. The book was reviewed in the New York Review of Books. They said ‘There’s hope for literature yet.’ It was a rave.
Without any proper artistic training, Drexler started producing Abstract-Expressionist sculptures, which were first exhibited in 1955. By the late fifties, she progressed to painting, and exhibited her works alongside Lichtenstein and Jim Dine. Her technique was to enlarge newspaper photos and advertisements (such as Marilyn Monroe, gangsters, or a poster for the movie Konga), which she would then paste onto a board, create a collage, and paint over the top. The resulting pictures were powerful and arresting examinations on the human condition.
For example, Drexler’s series “The Men and Machines” examined the alienating, technological advances made during the Cold War, when a pushed button could wipe out humanity.
The series “Love and Violence” used B-movie images to critique the sexual and emotional relationships between men and women. One of her best known paintings “Marilyn Pursued by Death” (1967) shows the actress being chased by a weird looking man, who could be a member of the press or a stalker, but was in fact Monroe’s bodyguard, as can be clearly seen in the original photo. By focussing on the bizarre juxtaposition of the two figures, Drexler created a powerful image about fame, sex, desire and obsession.
While the male artists became the accepted face of Pop Art, the female artists like Drexler, Strider, Marisol Escobar and Letty Eisenhauer were shamefully sidelined.
As Drexler explained in the Art Blog in 2004:
“Women were not bankable at that time. Every other male artist… other galleries came along. I received no offers. In my naivete I thought it was because I was not a painter so I must make paintings.”
Drexler moved onto a career as a best-selling novelist and award-winning playwright working with Lily Tomlin, Richard Pryor and Alan Alda amongst others, winning an Emmy for her work with Tomlin.
When asked if she thought artists were born, Drexler replied:
“I have the same involved subconsious feeling – of belonging of being there – in the art…
“That’s really where I want to be. I feel like an expatriate – an interloper – as a wife, shopper, mother. I love being in my head. I amuse myself.
“Louise Nevelson once was asked when did she decide to be an artist. She said ‘I was born an artist. I’ve always been an artist.’
“I think so. It’s a different mindset. It’s a definite way of being.”
Now in her eighties, Drexler continues to write and work, though there’s not so much of the wrestling these days.
Pop Artists Roy Lichtenstein and Andy Warhol divulge some of the influences and techniques to their work in this documentary by Lane Slate from 1966.
Artists are not always the best expositors on their art. There are the exceptions like David Hockney, who inclusively shares his knowledge through television documentaries, or Francis Bacon, who spent hours in conversation with David Sylvester discussing the influences and sources for his work. Here, we find Lichtenstein enthusiastic though slightly inconclusive, and Warhol being just Andy.
Roy Lichtenstein’s bold, bright, iconic paintings of comic book panels and advertisements offered an ironic commentary on sixties’ consumer society, while at the same time showed an artist attempting to make art viable in such a world. When Lichtenstein explains the ideas and intentions behind his work, his answers come spilling out like the contents of a shaken can of cola, the bubbles of information frothing over into long stream of consciousness answers, which never really come to a formal resolution.
Lichtenstein begins with a description of the modern landscape that inspired his work and influenced his style:
”I think we’re living in a society that is to a large extent is Pop, I think it’s one of the facets of our society, and it’s one of the facets of present society which is new, and is one of the facets which hasn’t existed before.
“It’s made in a way, partially, a new landscape for us. In the way of billboards, and neon signs, and all the stuff we’re familiar with, and also literature, and television, radio, almost all of the landscape, all of our environment seems to be made, partially, of a desire to sell products.
“This is the landscape that I am interested in portraying. I’m also not only portraying it, but I am working in the style of it, or a style which at least parodies the style of everyday art, everyday society.
“I am interested in portraying a sort of anti-sensibility that pervades the society and a maybe gross over-simplification. I use that more as style rather than actuality. I really don’t think art can be gross and over-simplified and remain art—it must have subtleties, and it must sort of yield to an aesthetic unity, otherwise it’s not in the realm of art, it’s something else probably. But I think using it as a style gives it a kind of brutality, and maybe hostility that is useful to me in an aesthetic way.”
Andy Warhol starts his interview with a renunciation of the reverence with which art and paintings are given.
”Why I don’t paint anything? Because I hate objects. I hate to go to museums to see pictures on walls that look so important because they don’t mean anything, I think.”
It’s a good start, as Warhol could give a masterclass in being inarticulate. Of course, it’s all deliberately elusive, and just watch how quickly he loses interest once the questions become about the personal rather than his work.
“You should just tell me the words and I’ll repeat them. I’m so empty today, I can’t think of anything.”
The interview ends with Warhol talking about The Velvet Underground, before he is seen inflating silver balloons as the band rehearse in the background.
Painters Painting is a definitive documentary history of the New York Art Scene 1940-1970. Directed by Emile de Antonio, the film focuses on American art movements from Abstract Expressionism to Pop Art. De Antonio was a Marxist film-maker who was once described as “…the most important political filmmaker in the United States during the Cold War.”
In the 1960s and 1970s, De Antonio established his reputation with a series of political documentaries including Point of Order (1964) on the Senate Army-McCarthy hearings of 1954; Rush to Judgment 91967) investigating the aftermath of the Kennedy assassination; Millhouse: A White Comedy (1971) which followed Richard Nixon’s political career; and as co-director, Underground (1976) on the Weathermen.
De Antonio claimed he was able to make Painters Painting (1972) as he knew all of the artists involved:
“I was probably the only filmmaker in the world who could [have made Painters Painting] because I knew all those people, from the time that they were poor, and unsuccessful and had no money. I knew Warhol and Rauschenberg and Jasper Johns and Stella before they ever sold a painting, and so it was interesting to [make this film].”
His close relationship with these artists allowed some incredibly candid interviews from the likes of Willem de Kooning, Jasper Johns, Robert Rauschenberg, Helen Frankenthaler, Frank Stella, Barnett Newman, Hans Hofmann, Jules Olitski, Philip Pavia, Larry Poons, Robert Motherwell, and Kenneth Noland. Though, as ever, Andy Warhol deflected questions, claiming Brigid Berlin painted his pictures—though he had previously claimed everything he knew about painting he had learned from “De.”
Marko Mäetamm is a multimedia artist, who works within the mediums of video, photography, drawing, painting and the Internet. Over the past 2 decades, Marko has established himself as an original and provocative artist, and his work has been exhibited across Europe.
Born in South Estonia, Mäetamm ‘grew up without any artistic influences,’ and did not consider becoming an artist until he was 18.
‘The first time I thought doing something creative was through this friend, who was a great fan of Prog Rock and Heavy Metal,’ Marko explains. ‘And the first time I felt I really wanted to do something visual or artistic was when I was looking at the these Heavy Metal and Prog Rock album sleeves at his place.
‘This was at the beginning of the 1980s, when Estonia was part of Soviet Union and you couldn’t legally buy any Western music in stores. It was all smuggled in somehow, so you had to know people who knew people who knew other people to get access to original albums of any kind of Western music. It was more common to share tape-recorded copies of the albums rather than to have the original vinyl.
‘So, my first “serious drawings” were copies of all of these album covers and bands.’
Marko jokes that these were ‘terribly bad drawings,’ but it was still enough to inspire his interest, and after 2 compulsory years in the Soviet Army, he studied study printmaking at the Estonian Academy of Arts in Tallinn.
‘It was still the end of Soviet regime, so we didn’t get much information of what was happening in the world of contemporary art. My first influences were all these great modern artists we had to study—Rousseau, Matisse, Chagall, Picasso and so on. That was until I discovered Pop Art, at the end of my studies, and got really into it.
‘This was all happening around the same time the new wave of Young British Artists jumped on the stage, but then nobody was talking about it in Estonia. So it shows you how huge a gap there was between the art here in Estonia, and international art. It took the whole 90-s to cover this gap.’
Dangerous Minds: How would you describe yourself as an artist and how would you describe your art?
Marko Mäetamm: ‘It is always difficult to describe yourself. It is kind of a tricky thing. We never see ourselves the way like the other people do, even when we look in the mirror we actually see our image in a mirror – the eye that we think is our right eye is actually our left eye for other people and so on. And our voice we hear coming from inside us is totally different from the voice other people hear us talking with.
‘But to try to say something - I think I am quite obsessed by my work and I probably need it to keep myself in balance. I say, “I think” because I do think that it might be like that, I don’t really know. And I think that I may not function as good if I didn’t have that channel – art, to communicate with the world. I have come to recognize this by thinking of my own projects during my career. And how my ideas change. People have asked me if I have a therapeutic relationship with my work, and I have always answered that it is absolutely possible. But I really don’t know and I don’t even know if I would need to know it. I don’t know if that would make my work better.’
J. G. Ballard once said, if by some terrible calamity all art from the 20th century was destroyed except for the work of one artist, then it would be possible to recreate all of the century’s greatest artistic developments if that artist was Eduardo Paolozzi.
Deliberate hyperbole, but there is an essence of truth here, as Paolozzi produced such an incredible range and diversity of art that it has been difficult for critics and art historians to classify him. He began as a Surrealist, before becoming the first Pop Artist—a decade before Warhol put paint on canvas. He then moved on to print-making, design, sculpture and public art to international success.
Born in Edinburgh, to an Italian family in 1924, Paolozzi spent much of his childhood at his parent’s ice cream parlor, where he was surrounded by the packaging, wrapping and cigarette cards that later inspired his Pop Art. This early idyll of childhood was abruptly ended when Italy declared war on Britain in 1940. Paolozzi awoke one morning to find himself, along with his father and uncles, incarcerated, in the city’s Saughton Prison, as undesirables, or enemies of the state. Paolozzi was held for 3 months, but his father and uncles were deported to Canada on the ship HMS Arandora Star, which was torpedoed by a U-boat off the north-west coast of Ireland. The vessel sank with the loss of 630 lives.
Considered psychologically unsuitable for the army, the teenage Paolozzi studied at the Edinburgh School of Art, in 1943, before finishing at the Slade School in London, which he found disappointingly conservative in its approach to art.
After the war, Paolozzi moved briefly to Paris where he visited some of the century’s greatest artists, then resident in the city—Giacometti, Braque, Arp, Brâncuşi, and Léger. In his youthful boldness, Eduardo had telephoned each of these artists after discovering their numbers in the telephone directory. He was greeted as an equal, he later claimed, most probably because the war had just ended. The experience taught Paolozzi much, and emboldened his ideas. On his return to London, Paolozzi presented a slide show of adverts and packaging, which was the very first Pop Art.
Paolozzi developed his distinctive collages and multiple images of Marilyn Monroe long before Warhol and even Richard Hamilton, the artist with whom he showed at the now legendary This Is Tomorrow exhibition, at the Whitechapel Gallery in 1956.
Paolozzi eventually tired of his association with Pop Art, as it limited his incredibly diverse artistic vision. The same year as This Is Tomorrow, he played a deaf mute, with fellow artist Michael Andrews, in the first major Free Cinema movie Together by Lorenza Mazzetti.
By the late 1950s, he had moved on to industrial print-making, before producing an incredibly awe-inspiring range of designs for buildings, sculptures and public art—from his mosaic for Tottenham Court Road tube station to the cover of Paul McCartney’s Red Rose Speedway, through to such epic sculptures Newton, outside of the British Library, Vulcan, Edinburgh, and Head of Invention, Design Museum, London.
In 1984, Paolozzi conceived and produced a brief strange and surreal animation 1984: Music for Modern Americans, which was animated and directed by Emma Calder, Susan Young and Isabelle Perrichon, and based photocopies of Paolozzi’s original drawings.
Pop Goes the Easel was Ken Russell’s first full-length documentary for the BBC’s arts series Monitor. It focused on 4 British Pop Artists - Peter Blake, Peter Philips, Pauline Boty and Derek Boshier.
Russell was revolutionary in his approach to making this film, he developed a whole range of new techniques to capture and reflect the excitement and energy of these young artists, which was cutting edge back in 1962, but are now part of the very heart of documentary-making (you’ll may also note clues to some of Russell’s later works). It’s a beautiful wee film that captures these artists, their work and the start of the swinging sixties perfectly - though I only wish it was in color.
Born in London in 1922, Hamilton was determined to become an artist an early age, he quit school at 15, and studied art at night before entering the Royal Academy at 16. His studies were cut short by the outbreak of the Second World War, during which he worked as a draughtsman with engineers and scientists at EMI. After the war returned to the Royal Academy, but was expelled for “not profiting from the instruction”. He then attended the Slade College of Art for 2 years, from which he started working at the ICA, where he produced posters, leaflets and exhibit work.
In 1951, Hamilton curated his first exhibition, Growth and Form. This was followed in 1955 with the seminal Man, Machine and Motion, which examined human interaction with machine and environment, and how “the need to cope with technology provokes great art.”
It was at this time Hamilton met with Eduardo Paolozzi, who was already working on the collages which are now best associated with Pop Art. Hamilton joined Paolozzi in the loose grouping of artists known as the Independent Group, who gathered around the ICA.
In 1956, the Independent Group mounted This Is Tomorrow, an exhibition that is now seen as one of the most influential of the past sixty years - its resonance is still with us today. This was the show that announced Pop Art to the world - long before Warhol, who was then window dressing. As described by the Daily Telegraph:
This Is Tomorrow, a quasi-anthropological, partly ironic exhibition embracing the imagery of the embryonic mass media. In Hamilton’s words, the idea was to examine “our new visual environment — cinema, the jukebox, Marilyn Monroe, and comics — all these games with sound, optical illusion and imagery”.
His own small, dense, prophetic work Just What Is It That Makes Today’s Homes So Different, So Appealing? not only introduced the word “pop” into art (emblazoned on the muscleman’s phallic lollipop) but also anticipated many of the key images of the genre: the television; the Warner Bros billboard; the comic poster (Lichtenstein); the packaged ham (Rosenquist); the Motel bed (Oldenburg); and the Ford logo — Hamilton’s obsession with car design and engineering culminated in Hommage à Chrysler (1957). This was Pop Art, but not populist art. Hamilton called it “a new landscape of secondary, filtered material” – sophisticated art to be devoured by a mass audience.
The exhibition’s success gained him a teaching post at the Royal College of Art, where he influenced David Hockney and Peter Blake. He produced works such as Hers Is A Lush Situation (1958), in which automotive and female design are commingled; Pin-up (1961), with its mixed idioms, classical, modern, vulgar; and the sketchy, painterly collage-like rapture of $he (1962) – it was, he suggested, “a sieved reflection of the adman’s paraphrase of the consumer’s dream”.
In 1962, Hamilton’s wife, Terry, was tragically killed in a automobile accident. Hamilton quit Britain for the USA, where he became close friends with Marcel Duchamp. The friendship led to Hamilton curating a retrospective of Duchamp’s work at the Tate Gallery, London.
The association with Pop Art, led Hamilton to be hailed the “Father of Pop Art” a title he loathed. The association continued in the mid-sixties after he returned to England, and produced two of his most famous works Swingeing London 67, a portrait of Mick Jagger and Robert Fraser under arrest, which became one of the defining images of the 1960s. The following year Hamilton designed the cover for the Beatles White Album, which became his best known work.
The sixties also saw Hamilton influence another, younger generation of artists and musicians, most famously one of his pupils, Bryan Ferry and his band Roxy Music.
In the the 1970s, Hamilton had retrospectives at the Tate (1970) and the Guggenheim in New York (1973), both exhibitions subsequently toured Europe.
I saw one retrospective of his work during this decade at the Gallery of Modern Art in Edinburgh, which mixed his famous line drawings for James Joyce’s Ulysses, with his Pop Art, and silk screens. It was highly impressive, but more because of the intelligence on display, rather than any shared emotion inspired by the work. This may explain why Hamilton never really made the cross-over from critical acclaim to populist success.
The seventies saw Hamilton produce some of his most political work:
Hamilton had always been politically engaged, vociferously supporting the CND. In the 1980s he began a “Northern Ireland” trilogy: The Citizen (1981-83) depicted a “dirty protest” prisoner in the Maze; The Subject (1988-89), a self-righteous Orangeman; and The State (1993), a British soldier on patrol. Inevitably such politicised subject matter attracted criticism, though many considered the works merely naive oversimplifications.
Despite his advancing years, Hamilton continued to reinvent himself. In the 1980s he began working with computers: “I initially ventured into working with computers because I didn’t want to get left behind. I was approaching old age and aware of it, and I thought ‘I’m going to keep up with this’ and found out that I was ahead of everybody.” He designed two computers, the OHIO and the Diab DS-101, and increasingly used digital devices to manipulate images and create a dialogue between technique, technology and aesthetics.
The attraction of computers, he claimed, was that “you have the possibility of perfection. I’m after beauty — of composition, colour and tone.” It did not seem ironic that a man in his eighth decade was exploring technology with greater vivacity than almost any other artist: throughout his long career, Hamilton’s work anticipated almost every interpretative cultural theory, from Marshall McLuhan to the “Young British Artists”, and provided the most thorough engagement with mass media and technology this side of the Atlantic. Damien Hirst referred to Hamilton as “the greatest”.
Hamilton was appointed Companion of Honour in 2000; in 2006 he received the Max Beckmann Prize for Painting. A major retrospective of his work is due to travel to tour America and Europe from 2013.
Richard Hamilton married Terry O’Reilly in 1947; they had a son and a daughter. Rita Donagh, whom he married in 1991, survives him with the son of his first marriage.
Bonus clip, Richard Hamilton on Bryan Ferry and Roxy Music, after the jump…
To commemorate Andy Warhol’s 83rd birthday on August 6th, the McDermott Galleries in Birmingham, England, are exhibiting a sculpture of what the 83-year-old might have looked like had he lived.
The sculpture is by Edgar Askelovic, a 23-year-old artists based in Birmingham, who spent 3 months working on it, and while the result may be incredibly “life-like”, it looks less like Andy Warhol and more like one of the two aged hecklers, Waldorf and Statler, from The Muppet Show.
“The pose of the piece is taken from a photograph of Warhol in the 60s. He is a huge inspiration to me and I wanted to make sure that I did him justice with my work.”
“I thought long and hard about what he might look like today, which led me to sculpt him without his teeth and with the wrinkles that reflect the years that have now passed. Although maybe there should also be a botox version – after all, he was a pioneer of all things new”
“I remember reading about Andy’s humble beginnings – his first film, titled Sleep, was an epic 6 hours long and all about one of his friends sleeping. 9 people attended the premiere apparently and only 7 stayed until the end – he was a true creative.” I also love this quote from Andy, it sort of sums up how I try to approach my own work:
“An artist is someone who produces things that people don’t need to have but that he - for some reason - thinks it would be a good idea to give them.”
—Andy Warhol on Art and Artists
Gallery owner Terence McDermott said: “The idea is that on Saturday if he was still alive he would have been 83-years-old so what Edgar has done is to use some artistic license to create his own interpretation of Warhol as an 83 year old. This wig is just as he would have worn it – a simple substitute for a cap.”
“It’s tragic to think about the life, art and advances Warhol missed out on. I wonder what he would have done with the internet, Facebook, Twitter, YouTube…reality TV?! Maybe there would even be a Warhol App?
“The thought of Andy Warhol in the digital age is mind blowing. The world was always one step behind him and it’s such a shame he is not here with us.”
The sculpture is called Andy Walking, Andy tired, Andy take a little snooze, after a line from the David Bowie “Andy Warhol”, and is on sale for $16,355 (£9,995).