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| Richard Hamilton, "Exhibit", 1957 «was conceived in close collaboration with writer-critic Lawrence Alloway and artist Victor Pasmore. Organised around a modular hanging system, the intention was to give visitors an opportunity ‘to generate their own compositions’.» |
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| Richard Hamilton, "Man, Machine and Motion", 1955 «comprises thirty modular, open steel frames in which photographic images are clipped in four themes: ‘Aquatic, Terrestrial, Aerial and Interplanetary’.» |
PRESS RELEASE:
Richard Hamilton (1922–2011) is widely regarded as one of the most important and innovative British artists of the twentieth century, and the founding father of pop art. During the 1950s, the ICA stood apart from a more conventional London art scene, offering Hamilton the opportunity to curate pioneering exhibitions and participate in experimental events organised by the Independent Group, of which he was a key member. Richard Hamilton at ICA presents two of his seminal installations, Man, Machine and Motion (1955) and an Exhibit (1957), alongside related rare archive material, to coincide with the Tate Modern’s retrospective on the artist. Almost six decades after Hamilton presented these works at the ICA’s s original location at Dover Street, they will be re-staged to reflect the artist’s close involvement with the ICA throughout his career.
Hamilton’s relationship with the ICA was first established when he installed James Joyce: His Life and Work (1950) with Nigel Henderson, and later curated Growth and Form (1951) and The Wonder and Horror of the Human Head (1953) at Dover Street. As a key member of the Independent Group, Hamilton took part in numerous public discussions and the networks afforded to him by the ICA greatly influenced his practice.
Man, Machine and Motion consisted of thirty steel open frames onto which photographic images were clipped. The frames were double sided and housed over 200 separate images, which related to four themes: ‘Aquatic, Terrestrial, Aerial and Interplanatery’. Hamilton designed the exhibition to be flexible, so that the frames could be moved and placed in different configurations. He developed this exhibition more fully with his next curated show, an Exhibit (1957), working in close collaboration with the artist Victor Pasmore and writer-critic Lawrence Alloway. Organised around a modular hanging system, the intention was to give visitors an opportunity ‘to generate their own compositions’. Both exhibitions were shown first at the Hatton Gallery, Newcastle before being presented at the ICA.
Richard Hamilton was born in London in 1922. He studied at the Royal Academy Schools and Slade School of Art, and went on to teach at the London Central School of Arts and Crafts and the University of Newcastle upon Tyne. Hamilton was a key member of the Independent Group that met at the ICA in the 1950s. He represented Britain in the 1993 Venice Biennale and his work is held in major public and private collections around the world.
Richard Hamilton (1922–2011) is widely regarded as one of the most important and innovative British artists of the twentieth century, and the founding father of pop art. During the 1950s, the ICA stood apart from a more conventional London art scene, offering Hamilton the opportunity to curate pioneering exhibitions and participate in experimental events organised by the Independent Group, of which he was a key member. Richard Hamilton at ICA presents two of his seminal installations, Man, Machine and Motion (1955) and an Exhibit (1957), alongside related rare archive material, to coincide with the Tate Modern’s retrospective on the artist. Almost six decades after Hamilton presented these works at the ICA’s s original location at Dover Street, they will be re-staged to reflect the artist’s close involvement with the ICA throughout his career.
Hamilton’s relationship with the ICA was first established when he installed James Joyce: His Life and Work (1950) with Nigel Henderson, and later curated Growth and Form (1951) and The Wonder and Horror of the Human Head (1953) at Dover Street. As a key member of the Independent Group, Hamilton took part in numerous public discussions and the networks afforded to him by the ICA greatly influenced his practice.
Man, Machine and Motion consisted of thirty steel open frames onto which photographic images were clipped. The frames were double sided and housed over 200 separate images, which related to four themes: ‘Aquatic, Terrestrial, Aerial and Interplanatery’. Hamilton designed the exhibition to be flexible, so that the frames could be moved and placed in different configurations. He developed this exhibition more fully with his next curated show, an Exhibit (1957), working in close collaboration with the artist Victor Pasmore and writer-critic Lawrence Alloway. Organised around a modular hanging system, the intention was to give visitors an opportunity ‘to generate their own compositions’. Both exhibitions were shown first at the Hatton Gallery, Newcastle before being presented at the ICA.
Richard Hamilton was born in London in 1922. He studied at the Royal Academy Schools and Slade School of Art, and went on to teach at the London Central School of Arts and Crafts and the University of Newcastle upon Tyne. Hamilton was a key member of the Independent Group that met at the ICA in the 1950s. He represented Britain in the 1993 Venice Biennale and his work is held in major public and private collections around the world.
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