(english) Pop Art

[BerlinRocks]

first
some big names...

Lawrence Alloway

1926–1990

Lawrence Alloway brought an incisive, critical perspective to the Independent Group when he joined the meetings in early 1955 as convenor with John McHale. The second session concentrated on mass culture, industrial design, cybernetics and fine art. As an art critic, Alloway had admired the work of Paolozzi and William Turnbull since the early 1950s, writing a glowing review of their work for Art News in the summer of 1953. Alloway also curated exhibitions, including Collages and Objects at the ICA in late 1954, which included the first representation of a transistor in British art. Alloway shared the same type of humble background as Banham and Hamilton, as the son of a bookseller he was largely educated at home due to childhood illness. He relished the popular culture of his early years, notably science-fiction comics and films. Alloway continued to be an avid fan of Hollywood film throughout his lifetime, working as a groundbreaking film critic for the British Movie magazine, and publishing Violent America: the Movies 1946–64 in 1971, which accompanied a screening of 35 films at the Museum of Modern Art, New York.
Alloway contributed an introduction entitled ‘Design as a Human Activity’ to the This is Tomorrow catalogue, which encapsulated the Independent Group’s approach:
‘In This is Tomorrow the visitor is exposed to space effects, play with signs, a wide range of materials and structures, which, taken together, make of art and architecture a many-chanelled activity, as factual and far from ideal standards as the street outside.’ (1956:11)
He also contributed to Group 12’s environment with Toni del Renzio and John Holroyd, consisting of various tackboards which the visitor could alter. Alloway was employed by the ICA as Assistant Director in July 1955, making a contribution to the public series of lectures and the exhibition programme. In 1958 he travelled around America on a State Department Grant and in 1961 Alloway moved to New York, to teach at Bennington College before becoming a curator at the Guggenheim Museum. He then supported the development of American Pop Art and, in the 1970s and 1980s, feminist art, due to his wife Sylvia Sleigh’s involvement. His incisive, critical writing on architecture, art and film continued to reflect Independent Group concerns throughout his lifetime.

from the I.G website

Lawrence Alloway

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Lawrence Alloway (London, 1926 - New York, January 2, 1990) was an English art critic and curator who worked in the United States from the 1960s. In the 1950s he was a leading member of the Independent Group in the UK and in the 1960s was an influential writer and curator in the US. He first used the term "mass popular art" in the mid 1950's and used the term Pop Art in the 1960s to indicate that art has a basis in the popular culture of its day and takes from it a faith in the power of images.[1]
Contents

[hide]

• 1 In his own words
• 2 Early career and the Independent Group
• 3 Career in the U.S.
• 4 Notes

[edit] In his own words

Concerning the origins of the term Pop Art in his own words Alloway said: "The term, originated in England by me, as a description of mass communications, especially, but not exclusively, visual ones."[2] In a footnote to his essay Pop Art the words, he goes on to say: "The first published appearance of the terms that I know is: Lawrence Alloway, "The Arts and the Mass Media," Architectural Design, February, 1958, London. Ideas on Pop Art were discussed by Reyner Banham, Theo Crosby, Frank Cordell, Toni del Renzio, Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi, Alison and Peter Smithson, sculptor William Turnbull, and myself."
However there are contradictory recollections as to the origin of the term: according to John McHale's son his father first coined the term in 1954 in conversation with Frank Cordell, and the term was then used in Independent Group discussions by mid 1955.[3]. Alloway used the term 'mass popular art' in his oft quoted 1958 article but he did not use the specific term "Pop Art".[4]

[edit] Early career and the Independent Group

Alloway started writing art reviews for "Art News and Reviews" in 1943. In his 1954 book Nine Abstract Artists he promoted the Constructivist artists that emerged in Britain after the Second World War: Robert Adams, Terry Frost, Adrian Heath, Anthony Hill, Roger Hilton, Kenneth Martin, Mary Martin, Victor Pasmore and William Scott.
Alloway's theory of art reflecting the concrete materials of modern life gave way to an interest in mass-media and consumerism. Alloway was a member of the Independent Group and lectured on his theory of a circular link between popular cultural low art and high art. From 1955 to 1960 he was Assistant Director of the Institute of Contemporary Arts in London, organising two landmark exhibitions of American Art. In 1956 Alloway contributed to organising the exhibition This is Tomorrow and reviewing that show, and other works he had seen on a trip to the U.S., in a 1958 article, first used the term "mass popular art".

[edit] Career in the U.S.

In 1961 Alloway moved to New York with his wife, realist painter Sylvia Sleigh. He was appointed senior curator at the Solomon R. Guggenheim Museum from 1961 until 1966. In 1963 he organized the pop art show, Six Painters and the Object. In 1966 he curated the influential Systemic Painting exhibition that showcased Geometric abstraction in the American art world via Minimal art, Shaped canvas, and Hard-edge painting. Alloway was an ardent supporter of Abstract expressionism and of American Pop artists such as Roy Lichtenstein, Claes Oldenberg, and Andy Warhol. In 1967/68 he joined the Art department faculty as a lecturer at Southern Illinois University Carbondale, where McHale and Buckminster Fuller were also on staff at the SIU Design Department. In the 1970s he wrote for The Nation and Artforum and lectured at the State University of New York.

[edit] Notes

1. ^ Topics in American Art since 1945, Pop Art the words, pp.119-122, by Lawrence Alloway, copyright 1975 by W.W.Norton and Company, NYC ISBN 0-393-04401-7
2. ^ Topics in American Art since 1945, Pop Art the words, p.119 by Lawrence Alloway, copyright 1975 by W.W.Norton and Company, NYC ISBN 0-393-04401-7
3. ^ Warholstars.org
4. ^ The Arts and the Mass Media Lawrence Alloway, Warholstars.org

from wikipedia

 

[BerlinRocks]

‘The Independent Group looked at, discussed, analysed, wrote about, designed, built and assembled a galaxy of highly significant work exploring contemporary culture “as found”. Using a range of sources including the pages of science-fiction magazines, Jackson Pollock’s paintings, Hollywood film, helicopter design, the streets of London’s East End and modernist architecture the Independent Group created a radical approach to looking at and working with visual culture.’

The Independent Group was a highly significant collection of writers, thinkers and creative practitioners which met at the ICA from 1952–5.

Most often valourised as the fathers of pop, the broader contribution of the Independent Group to critical thinking and creative practice about visual culture has been under-rated. Leading artists such as Richard Hamilton, Eduardo Paolozzi and William Turnbull; architects Alison and Peter Smithson, James Stirling and Colin St John Wilson and critics Lawrence Alloway and Reyner Banham all contributed to the interdisciplinary, group events.

The Members of the Independent Group

The Independent Group looked at, discussed, analysed, wrote about, designed, built and assembled a galaxy of highly significant work exploring contemporary culture ‘as found’. Using a range of sources including the pages of science-fiction magazines, Jackson Pollock’s paintings, Hollywood film, helicopter design, the streets of London’s East End and modernist architecture the Independent Group created a radical approach to looking and working with visual culture. The approach was inclusive and respectful, drawing from inspiration as diverse as communication theory, anthropology and non-Aristotelean philosophy. The approach also spanned the entire cultural landscape of post-war Britain and inhabited the spaces between a multitude of concepts, practices and disciplines.
The main aim of this website is to provide a simple resource for teachers, researchers and students who are interested in the Independent Group. By providing an up to date collection of resources, it will unpack the phenomenon of the Independent Group, and reassess its significance in the post-disciplinary, digital age. It interrogates the historiography of the group and re-examines its practice in a multi-media context. The spaces between concept, practice and discipline forms the basis for discussion. Between architecture and advertising, fine art and mass culture, film and technology. How can the theories and practice of the Independent Group illuminate the collapsing disciplinary boundaries of contemporary visual culture? How can their exhibition practice, particularly with This is Tomorrow, act as an inspiration for contemporary curators? How can their innovative, pedagogic approach inspire teaching and learning today, across disciplilnary boundaries? What insights does the Group’s innovative approach to the value of ephemerality give us?

I.G - independentgroup.org.uk

 

[BerlinRocks]

Eduardo Luigi Paolozzi

1924–2005

Eduardo Paolozzi brought a special, l’art brut aesthetic and genuine enthusiasm for mass culture to the Independent Group. His particular perspective was influenced by his childhood experiences of technology and the popular. Growing up above his parents’ ice-cream shop and experiencing the culture of the street and the cinema. Paolozzi initially studied at Edinburgh College of Art, and at the end of the War, he continued studying fine art at the Slade School of Fine Art. This was in the very different atmosphere to his home city, as the Slade had been relocated to Oxford. It was here that Paolozzi met future Independent Group collaborators, Nigel Henderson and William Turnbull. They were united by an admiration for culture beyond the gallery and an enthusiasm for contemporary European art and philosophy. Nigel Henderson’s mother, Wyn Henderson, provided Paolozzi with the contact to stage his first one man show at the Mayor Gallery in London. Funded by sales from the show, amounting to seventy-five pounds, Paolozzi travelled to Paris in the summer of 1947 and remained there for two years. Visited frequently by Turnbull, Henderson and Edward Wright, Paolozzi visited the studios of Brancusi, Leger, Giacometti, Braque and Arp. Paolozzi’s rough and ready aesthetic vision chimed perfectly with the l’art brut of Debuffet. Indeed, his work was included in Michel Tapie’s Un Art Autre of 1952.
Paolozzi returned to London in the autumn of 1949, inspired by the modernist vision of Paris and began teaching textile design at the Central School of Arts and Crafts. He also became involved with the newly opened Institute of Contemporary Arts (ICA) in Dover Street, designing a table with his student, Terence Conran for the new premises which opened in 1950 along with the bar area. He then exhibited his sculpture, Forms on a Bow (1949) in plaster at the inaugural show at the ICA, 1950: Aspects of British Art. He was made an honorary member in 1951, and his new wife, Freda, started work as a gallery assistant there.
Paolozzi decorated the gallery of the ICA for the New Year’s Eve party at the end of 1951. This heralded the first year of the Independent Group and the first meeting, at which Paolozzi presented pages from his scrapbooks, some of which would become the BUNK series of screen prints (1972) and form part of the KRAZY KAT archive, now held at the V&A. Glamour girls meet aeroplanes, and he-men encounter giant fruit. The images were all-American and gleaned during Paolozzi’s time in Paris from GIs temporarily resident there. The Group analysed the images as representations of an alluring and colourful reality beyond the grey, everyday life of post-war London. Paolozzi contributed to the other informal Independent Group events which became manifest in a pedagogical exhibition, Parallel of Life and Art with Alison and Peter Smithson and Nigel Henderson.
Eduardo Paolozzi, BUNK! (1971)
One of a series of screenprints of material gathered by the artist when in Paris in the late 1940s

Paolozzi then contributed to the 1955 season of the Independent Group with two sessions in April and May on Advertising alongside Alloway, John McHale and Toni del Renzio. Connections between Paolozzi and the rest of the Independent Group continued for decades after it stopped meeting. Paolozzi contributed towards to construction of the ‘Patio & Pavilion’ section of This is Tomorrow with the Smithsons and Nigel Henderson. He moved his family next door to the Hendersons in Thorpe-le-Soken and established Hammer Prints with Henderson in 1955. As recently as 2002 Paolozzi’s sculpture of Newton was placed outside the new British Library, designed by Colin St John Wilson.

same source

 

[BerlinRocks]

Richard Hamilton

1922–

Richard Hamilton brought sharp intellect and in-depth understanding of modernism, and links between science and art to the Independent Group. Hamilton had trained as an engineering draftsman and worked at EMI during most of the Second World War. Following an abortive stint at the Royal Academy Schools and eighteen months of national service, Hamilton enrolled at the Slade where he met Nigel Henderson. Henderson introduced Hamilton to D’Arcy Wentworth Thompson’s Growth and Form (1917), Marcel Duchamp’s Green Box and to the epicentre of modernism in Britain, the ICA.
At the ICA Hamilton helped with the installation of the exhibition, James Joyce, His Life and Work in 1950, also designing the exhibition catalogue. He exhibited in the 1950: Aspects of British Art show and then staged his own exhibition, Growth and Form at the ICA in 1951. This was inspired by the biological writings of D’Arcy Wentworth Thompson. Therefore, the exhibition consisted of seventeen categories which concentrated on a separate aspect of the structure of growth and natural forms in nature, ranging from atomic particles to astronomy. Hamilton created a complete environment with the exhibition – blown up microphotographs and X-rays were incorporated onto screens, films showing crystal growth and the maturation of a sea urchin were projected onto the walls in order that the spectator could be totally engulfed. Growth and Form was crucial for the Independent Group’s formulation of the expendable aesthetic, as D’Arcy Wentworth Thompson rejected universal, Platonic explanations of the world in favour of something more empirical.
Richard Hamilton was at the first meeting of the Independent Group when Paolozzi showed the multifarious images from his scrapbook. Hamilton continued to help with exhibitions at the ICA, installing The Wonder and Horror of the Human Head for Roland Penrose in 1953. He also contributed a session on ‘New Sources of Form’ to the Aesthetic Problems of Contemporary Art series at the ICA in 1953. Hamilton presented a session on his Trainsition series of paintings to the first meeting of the 1954–5 season of the Independent Group. These paintings were also included in Hamilton’s first solo exhibition at the Hanover Gallery in 1955. The paintings reflect his experience of frequently travelling to Newcastle, where he was teaching at King’s College, now Newcastle University. They depict the view out of a moving train window of a car travelling at a different speed in the distance.
Hamilton’s fascination with speed and travel inspired the second exhibition he organised, Man, Machine and Motion at the Hatton Gallery, Newcastle and then the ICA in 1955. Again, a total environment was created with blown-up photographs of cars, deep sea divers, scooter riders and early aircraft. Hamilton’s most famous exhibition contribution was This is Tomorrow. He designed the space with John McHale and John Voelcker and its theme was problems of perception. It included a giant cut-out of Marilyn Monroe and Robbie the Robot – the latter borrowed from the opening of the film The Forbidden Planet – and a juke box. Each of the twelve groups involved with the exhibition designed a poster, and Hamilton designed Group 2’s, using a collage image that would be destined to become emblematic of 1950s, American consumer culture, Just What Is It That Makes Today’s Homes So Different, So Appealing? Hamilton continued to investigate the imagery of popular culture in his work of the later 1950s and 60s. Indeed, he also designed the cover of the Beatles’ White Album and poster in 1968. He has recently mounted a spirited defence of his authorship of the Just What Is It That Makes Today’s Homes So Different, So Appealing?
A page from Group 2's contribution to the This is Tomorrow exhibition catalogue

same source

 

[emma peel]

don't forget richard hamilton...
woops, you beat me to it!

 

[BerlinRocks]

Alison & Peter Smithson

1928–1993; 1923–2003

Alison and Peter Smithson brought a fresh and rigorous understanding of modern architecture to the Independent Group. They briefly worked at that cradle of creativity for young architects at the time, the London County Council, before establishing their own architectural practice in 1950. This was as a result of winning the competition to design the groundbreaking Hunstanton School, Norfolk. An essay in Miesian modernity, the School attracted widespread critical attention when it was completed in 1954. Although the Smithsons did not receive any more prestigious architectural commissions during the 1950s, they made an impact on the international stage of architecture through their competition entries such as Golden Lane (1952) and Sheffield University (1953) and their participation in Team 10 from its foundation in 1956.
The Smithsons became in involved with the Independent Group as Peter was teaching at the Central School of Art and Crafts, London with Eduardo Paolozzi, who introduced them to Nigel Henderson in 1952. The Smithsons, Paolozzi and Henderson proposed the exhibition, Parallel of Life and Art to the ICA in March 1952 via Dorothy Morland, whom Paolozzi knew. The proposal was finally accepted in January 1953 with the support of Roland Penrose and sponsorship from Peter Gregory, Roland Jenkins, Jane Drew and Denys Lasdun. The exhibition was similar to Richard Hamilton’s Growth and Form in that it spanned science and art and created a total environment with a host of black and white images taken from a range of art and non-art sources. Curated by Reyner Banham, the show was polemical and controversial, the images shared an overall crudeness, vulgarity and rawness. This was not beautiful art, but processed images juxtaposed randomly. The exhibition also had a pedagogic purpose, and when the exhibition finished at the end of 1953, the panels were moved to the Architectural Association in Bedford Square, London where a stormy discussion took place on 2 December 1953, chaired by Banham. He referred to the debate in his seminal article ‘New Brutalism’ which celebrated the work of the Smithsons:
…students at the Architectural Association complained of the deliberate flouting of the traditional concepts of photographic beauty, of the cult of ugliness and ‘denying the spiritual in Man’. (Architectural Review, December 1955, p356)
The cover of the exhibition catalogue of Parallel of Life and Art, 1953

Installation shot of the exhibition, Parallel of Life and Art, 1953

It was by means of this exhibition and the creative collaboration with Henderson and Paolozzi that the Smithsons became involved in the Independent Group. The first, 1952–3 session of the Group had come to an end, and during 1954 the Group contributed more to the public programme at the ICA, including the lecture series Aesthetic Problems of Contemporary Art. Lawrence Alloway and John McHale convened the second session of the Independent Group on the theme of fine art and popular culture. Peter Smithson contributed to the fourth session in April 1955 on Advertising with Alloway, Paolozzi and McHale. An evening in which the Group focussed on American advertising imagery and symbolism.
The Independent Group stopped meeting towards the end of 1955, but the creative collaboration which lay behind its success continued throughout the lifetimes of the erstwhile members. In many ways, the apogee of the Group was the exhibition This is Tomorrow at the Whitechapel Art Gallery in September and October 1956. The show consisted of twelve separate spaces, constructed by twelve groups of architect, sculptor and painter. The Smithsons created the Patio and Pavilion area with their old Parallel of Life and Art team, Nigel Henderson and Eduardo Paolozzi. It consisted of a makeshift ‘lean to’ and patio area, strewn with random objects. Collaboration continued beyond This is Tomorrow, with Banham authoring a book on New Brutalism: Ethic or Aesthetic? in 1966. The Smithsons continued to work with Independent Group preoccupations with their design for the ephemeral, House of the Future for the Ideal Home exhibition in 1956 their article, ‘But Today We Collect Ads’ in ARK November 1957.
http://www.independentgroup.org.uk/images/t*t-Poster2.jpgPoster from the This is Tomorrow exhibition

same source

 

[BerlinRocks]

same source

 

[BerlinRocks]

« Le développement du Pop Art anglais », Lawrence Alloway, 1966 (in Lucy R. Lippard, Le Pop Art, Paris 1996, Thames & Hudson pour la traduction française, p. 27)

« Le Pop Art » a été associé à la « communication de masse » tant sur le ton de la plaisanterie que dans les discussions sérieuses : les emprunts du Pop Art aux mass media ont servi de prétexte à une identification complète entre la source d’inspiration et son adaptation. Et par voie de conséquence, on en est arrivé à identifier les artistes Pop à leurs sources. Une telle conception est doublement fausse : dans le Pop Art, l’image existe dans un contexte complètement nouveau, et c’est là une différence fondamentale ; de plus, les mass media sont plus complexes et moins inertes que ce point de vue ne le laisserait supposer. La célébrité rapide de certains artistes a été comparée, non sans malveillance, à la gloire tapageuse de certaines vedettes éphémères. Vers la fin des années 1940 et au début des années 1950, l’art abstrait américain a établi, à l’égard de l’art et de ses spectateurs, un nouveau système de références ; au cours de la décennie suivante, cette fonction normative revint au Pop Art. Alors qu’on se posait jusque-là des questions dont l’importance était couramment admise (À quel moment peut-on considérer qu’un tableau est terminé ? Quel est le minimum acceptable pour décréter qu’un tableau en est un ?), le Pop Art a donné lieu à d’autres questions : jusqu’à quel point une œuvre d’art peut-elle se rapprocher de sa source sans perdre son identité ? ou combien de significations simultanées une œuvre d’art peut-elle revêtir ? »

"the development of Pop English Art", Lawrence Alloway, 1966 (in Lucy R. Lippard, Pop Art, Paris 1996, Thames & Hudson for the French translation, p. 27) "Pop Art" was associated the "communication of mass" as well on the ton of the joke as in the serious discussions: the loans of Pop Art to the mass media served as a pretext for a complete identification between the source of inspiration and its adaptation. And consequently, one managed from there to identify the Pop artists with their sources. Such a design is doubly false: in Pop Art, the image exists in a completely new context, and it is a fundamental difference there; moreover, the mass media are more complex and less inert than this point of view would let it suppose. The fast celebrity of certain artists was compared, not without ill will, with the noisy glory of certain transitory high-speed motorboats. Towards the end of 1940 and at the beginning of the years 1950, the abstract art American established, with regard to art and of its spectators, a new frame of reference; during the following decade, this normative function with Pop Article Whereas one up to that point put questions whose importance was usually allowed (At which time can one returned consider that a table is finished? Which is the acceptable minimum to issue that a table is one?), Pop Art gave place to other questions: up to which point a?uvre of art can it approach its source without losing its identity? or how much simultaneous significances a?uvre art can it cover? "

centre pompidou education sources
yahoo babelfish translation

 

[BerlinRocks]

Allen Jones (1937)

English painter, sculptor and printmaker. He studied at Hornsey College of Art, London (1955–9, 1960–61), spending 1959–60 at the Royal College of Art, where he was associated with the rise of Pop art. Like Hockney and Kitaj he mixed conflicting styles, for instance in the Battle of Hastings (1961–2; London, Tate), but he drew less from contemporary culture than from the colour abstractions of Kandinsky and Robert Delaunay. Klee's writings encouraged him to adopt a pedagogical approach, as shown in his representation of movement through canvas shape in 3rd Bus (1962; Birmingham, Mus. & A.G.). Motivated by the theories of Jung and Nietzsche, he began in paintings such as Hermaphrodite (1963; Liverpool, Walker A.G.) to depict fused male/female couples as metaphors of the creative act. While living in New York (1964–5) he discovered a rich fund of imagery in sexually motivated popular illustration of the 1940s and 1950s. Henceforth, in paintings such as Perfect Match (1966–7; Cologne, Mus. Ludwig), he made explicit the previously subdued eroticism, adopting a precise linear style as a means of emphasizing tactility. The full extent of his Pop sensibility emerged in sexually provocative fibreglass sculptures such as Chair (1969; London, Tate), life-size images of women as furniture with fetishist and sado-masochist overtones. In the mid-1970s he returned to a more painterly conception in canvases such as Santa Monica Shores (1977; London, Tate) and to a playful stylization in figure sculptures, notably The Tango (1984; owned jointly by Liverpool, Walker A.G., and Merseyside Development Corp.), a larger than life-size dancing couple made from polychrome steel plate. Lithography, in which his output was prolific, proved an appropriate medium for his graphic flair. Among his publications are Figures (Milan, 1969) and Projects (London, 1971), the latter including his designs for stage, film and television. Bibliography
Allen Jones: Das graphische Werk (exh. cat., Cologne, Gal. Spiegel, 1970)
Allen Jones: Retrospective of Paintings 1957–1978 (exh. cat. by M. Livingstone, Liverpool, Walker A.G., 1979)
M. Livingstone: Sheer Magic by Allen Jones (New York, 1979)
C. Jencks, V. Arnos and B. Robertson: Allen Jones (London, 1993)
MARCO LIVINGSTONE

Chair, 1969

1965-1966

Curious Woman, 1964-1965

Right Hand Lady 1970

bu.univ-angers.fr
cafféeuropa
tate.org.uk

 

[BerlinRocks]

Richard Hamilton


Just what is it that makes today's homes so different, so appealing? 1956


My Marylin, 1965


Richard Hamilton's poster for the ICA's June 1950 James Joyce exhibition (detail)


Interior. 1964


Swingeing London 67(f), 1968-9


Bathroom - fig. 2, 1998


I'm dreaming of a white Christmas, 1969



tate, moma, bbc, le consortium

 

[BerlinRocks]

Edouardo Paolozzi


I was a Rich Man's Plaything 1947
Collage mounted on card







tate, boomer-cafe, [FONT=arial,sans-serif][SIZE=-1]chapeleiromaluco.blogger.com.br
[/SIZE][/FONT]

 

[BerlinRocks]

....

from Bunk serie



one of his sculpture....

Poem for a Trio M.R.T, 1964
Aluminium
210 x 209 x 112 cm
Courtesy of Leeds Museums and Galleries

facweb.cs.depaul.edu
ianstarr.com
bbc
telegraph
http://www.telegraph.co.uk/arts/mai...OAVCBQUIV0?xml=/arts/2007/05/05/balaoc105.xml
http://www.telegraph.co.uk/core/Sli.../arts/slideshows/laocoon/pixlaocoon.xml&site=

 

[BerlinRocks]

i tried to post some very important things... but in a sort of short story...
some images i posted there are really interesting...
like the views of the exhibits...

for french people interested into Richard Hamilton, Les Presses du Réel will soon edited a thesis' work about him...
my director wrote it...

 

[gius]

thanks for the thread, berlinrocks
i like these last ones, just a jumble of pop-ular well known images
photo montage.. would look nice if added with drawings and paintings too, bring to another level

kind of reminds me of my own work
i like to use recognizable symbols

 

[masquerade]

thank you for starting this thread and putting so much work into it. Allen Jones' stuff seems to stick out to me the most (which is no surprise considering i also love Jeff Koons' work)

 

[Aleksa]

i think i prefer english to american!

i desperately want an alan jones chair