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Funhouse lichtenstein

October 19, THE ultimate self-effacing artist, Roy Lichtenstein mirrors in his work the exterior world rather than interior angst.

Funhouse Lichtenstein

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Richard Hamilton was one of the most important artists of recent times, with a career spanning from the late s to

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Richard Hamilton was the founder of Pop art and a visionary who outlined its aims and ideals. A lollipop from one of his early collages furnished the movement with its title. His visual juxtapositions from the s were the first to capture the frenetic energy of television, and remind us of how strange funhouse lichtenstein vacuum, tape recorder, and radio must have seemed for the first generations that experienced them.

Richard Hamilton was born into a working class family in Pimlico, London, where his father was a driver at a car dealership. AsHamilton later recalled, "I suppose I was a misfit. I decided I was interested in drawing when I was I saw a notice in the library advertising art classes.

The teacher told me that he couldn't take me - these were adult classes, I was too young - but when he saw my drawing he told me that I might as well come back next week. On the merit of these early pieces, he was accepted into the Royal Academy the age of However, in the school shut because of the outbreak of World War II. Hamilton, too young to be enlisted to fight, funhouse lichtenstein the War making technical drawings.

This collage was created by Hamilton for the catalog of the seminal exhibition at London's Whitechapel Gallery, "This is Tomorrow. Adam is a muscleman covering his groin with a racket-sized lollipop. Eve perches on the couch wearing a lampshade and pasties.

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Hamilton used images cut from American magazines. In England, where much of the middle class was still struggling in a slower post-war economy, this crowded space with its state-of-the-art luxuries was a parody of American materialism. In drawing up a list of funhouse lichtenstein image's components, Hamilton pointed to his inclusion of "comics picture informationwords textual information [and] tape recording aural information. The tone of his work is lighter. He is poking fun at the materialist fantasies fueled by modern advertisement.

This whole collage anticipates bodies of work by future pop artists. The painting on the back wall is essentially a Lichtenstein.

The enlarged lollipop is an Oldenburg. The female nude is a Wesselman. The canned ham is a Warhol.

Fun Housea collaborative work, was one of the greatest critical successes of the Whitechapel exhibition, "This is Tomorrow. The architect John Voelcker created a structure which Hamilton then covered with oversized images from advertising and other popular culture sources.

The huge sci-fi robot, with its flashing eyes and grinning switchboard mouth, was taken from a film set. Superimposed on it is the iconic shot of Hollywood film star Marilyn Monroe in a billowing white dress. A large three-dimensional model of a Guinness bottle accompanies these 2-dimensional images. Pop music played loudly from speakers, and a recording of a robotic voice, accompanied the installation, producing an environment of sensory overload, unlike what most funhouse lichtenstein the gallery-going public in England had seen. Like Hamilton's Just what is it that makes today's homes Here, however, funhouse lichtenstein place of a domestic cornucopia, an anarchic and potentially sinister mood prevails.

Whatever the robot's intentions are for the unconscious woman, they cannot be good. The only quotation from "high art" is a blaring image of sunflowers by Van Gogh, the notoriously mentally unstable genius known for cutting off his own ear.

Though Hamilton was a multi-media artist, the elegant lines of this composition remind us that his way into art was through drawing. His command as a draughtsman underlies the complexity of much of his work, including this one, which at first glance appears to be totally abstract.

On closer inspection yet very hard to seeone can make out the form of a woman with large breasts wearing red lipstick and a fashionable bra leaning over the bonnet of a car. The woman and the car are inseparable, woven together in a single form.

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This is one of a series of works that examine the visual language of the auto industry, in which the bodies of women and cars are frequently compared. Hamilton highlights the fetishization and conflation of these "objects" in the post-War economy. In its abstraction and in the subject itself, it recalls de Kooning's series of women inspired by cigarette advertisements, which shocked audiences of the early s. The ghost-like lines of the female body in contrast with the definitive graphic presence of the mouth anticipates the work of Tom Wesselman.

Whether or not such works condemn or celebrate fetishization is beside the point. Hamilton was picking up on a theme that persists today in auto shows and car advertisements, where scantily-dressed temptresses invite us to try the latest sports car. Oil paint, metal foil and digital print on wood - Tate Modern, London. While the new visual language of advertising and its objectification of women was well-traversed territory, Hamilton was among the first Pop artists to make hyper-masculinity the subject of his work.


Serious and hilarious at the same time, this composite image pokes fun at a range of high and low sources defining modern man in the news. The much-photographed American president John F. Kennedy appears in an abstracted astronaut helmet, a reference to his determination to win the "space race" and be the first to plant a man on the moon.

The president and the symbols of his territorial ambition are surrounded by painterly marks and magazine cut-outs that appear to defy gravity, as if suspended in an uncertain orbit. Readers of Playboy would have recognized the phrase "trends in menswear and accessories" as the title of the magazine's fashion column.

Hamilton's addition, "Towards a definitive statement," lends a mock-academic tone to the title, as if it were a philosophical treatise, calling attention, perhaps, to the directionless nature of existence, despite the media's relentless push for male funhouse lichtenstein and domination. While teaching in Newcastle, Hamilton found on the floor of his classroom a film still from Shockproofa movie directed by Douglas Sirk, a German director well-known for his Hollywood melodramas.

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Hamilton was immediately taken with the careful composition of the image and the atmosphere of foreboding it created, and created this screenprint. Like so many of Hamilton's images, it is comprised of a selection of photographs and advertisements from American magazines.

Like Hamilton's earlier collage of an interior, Just what is it that makes today's homes so different, so appealing? The constantly exhausted state within which the consumer exists, despite all these labor-saving devices, is part of Hamilton's overarching message. Hamilton later described the original film still as "ominous, provocative, ambiguous; a confrontation with which the spectator is familiar yet not at ease.

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The vibrant Pop colors of the bottom left provide a strong contrast with the black-and-white photograph of a woman from a fashion plate and the somehow sinister image of long ghostly curtains on the right hand side. This screenprint is composed of a series of images of Marilyn Monroe that Hamilton discovered soon after her death in The print is made up of photographic proofs, some of which have been unmercifully crossed out, reproducing markings made by the actress herself with the addition of some painterly brush strokes created by Hamilton.

Hamilton discovered that Monroe would always ask to see photographs that were taken of her, and would mark them up to indicate which ones could be used, which could be improved through retouching and which had to be scrapped completely. Hamilton was fascinated by these markings made by the actress, describing them as "brutally and beautifully in conflict with the image. Hamilton explained his own take on Marilyn's psychology in the following way: "there is a fortuitous narcissism to be seen for the negating cross is also the childish symbol for a kiss; but the violent obliteration of her own image has a self-destructive implication funhouse lichtenstein made her death all the more poignant.

My Marilyn starts with her s and elaborates the possibilities these suggest. While on one level the expressive marks are a parody of Abstract Expressionism, the symbolism of funhouse lichtenstein screenprint, and the inclusion of "My" in the title, points to a deeply personal level of autobiographical symbolism.

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Hamilton's own wife had been killed in an auto accident inthe same year as Marilyn's death. Richard Hamilton is well-known in some funhouse lichtenstein for his de for the album entitled The Beatlesbut usually referred to as the "White Album. In contrast to the overloaded aesthetic of his earlier images, this record sleeve is completely white, and features only the words "The BEATLES" embossed slightly and set typographically off-center. Each album was also stamped with an individual serial. Hamilton later claimed that he wanted to create "the ironic situation of a ed edition of something like five million copies.

Pepper deed by Hamilton's student, Pop artist Peter Blake.

Perhaps because Blake's cover is so deeply funhouse lichtenstein by Hamilton it is much more "Hamiltonesque" than the White Album coverHamilton rebelled against his own style, choosing simple lines for the White Album that make it unlike most of the Pop art produced in this era, including Hamilton's other work, and more like Minimalism.

As a limited-edition print circulated to millions of individuals everyone who owns a copy of this album owns an "original" Richard Hamilton printhowever, it is very much in keeping with the democratic aims of the Pop art movement. Apart from being one of the greatest albums of all time, The White Album is a true cross-over between visual and musical culture.

It is a work of art and an everyday object that has become part of popular culture in its own right. Through this, Hamilton bridges the gap between art and de, high and low culture, and mass production and individuality. This painting by Hamilton is based on a photograph he found in a newspaper.

It shows the Rolling Funhouse lichtenstein Mick Jagger and the notorious art dealer Robert Fraser handcuffed together and attempting to hide their faces from the media. The photograph was taken when the pair were being driven to court after they had been arrested and would soon be tried and convicted for drug possession. Fraser's art gallery was the acknowledged center of the swinging '60s scene in London, and was also where many Pop artists such as Hamilton exhibited.

The title plays with the term "Swinging London", frequently used to describe the anything goes experimental mood embraced by Fraser, Jagger, and Hamilton himself, and the "swingeing" punishment settled on by the judge "swingeing", British slang, means "severe" or "drastic".