Raoul Hausmann ABCD, 1923-1924 Dada is the groundwork

Raoul Hausmann ABCD, 1923-1924

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of anti-art to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism. -Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, And Provocation

‘Under the pretence of civilization and progress, we have managed to banish from the mind everything that may rightly or wrongly be termed superstition or fantasy.’Andre Breton (1924)

Dada artists boldly embraced and roundly criticized this media and machine culture, filling their work with references to contemporary life and using new materials and technologies. Proposing innovative strategies of art-making, including collage, montage, assemblage, chance, "readymades," performance, and media pranks, the movement created an abiding legacy for the century to come.

Marcel Duchamp, Bicycle Wheel (1913)

Hannah Hoch, Dada Panorama (1919)

In 1945 World War II ended, but rationing continued in the UK till 1954.

‘Cunard Yanks’ Liverpool

Eduardo Paolozzi Collages from BUNK (1948-)

The Independent Group (IG) Institute of Contemporary Art Lawrence Alloway (Curator) ‘the aesthetics of plenty’ Richard Hamilton (1922-2011) Eduardo Paolozzi (1924-2005) Nigel Henderson (1917-1985)

Eduardo Paolozzi I was a rich man's plaything (1947)

Eduardo Paolozzi Collage from BUNK (1948)

Receipts from T.V. sales on Madison Ave rose from 12.3 million to 128 million dollars between 1949 and 1951

Eduardo Paolozzi Real Gold (1948)

Coinage of the complete term “pop art” was made by John McHale for the ensuing movement in 1954. “pop art” as a moniker was then used in discussions by Independent Group (IG) members in the Second Session of the IG in 1955, and the specific term “pop art” first appeared in published print in an article by IG members Alison and Peter Smithson in Arc, 1956 "But Today We Collect Ads" , reprinted on p.54 in Modern Dreams The Rise and Fall of Pop, published by ICA

However, the term is often credited to British art critic/curator, Lawrence Alloway in a 1958 essay titled The Arts and the Mass Media, although the term he uses is "popular mass culture" Nevertheless, Alloway was one of the leading critics to defend the inclusion of the imagery found in mass culture in fine art. "The Arts and the Mass Media," Architectural Design & Construction, February 1958.

This is Tomorrow Whitechapel Art Gallery (1956)

‘The language of advertising, cars, fashion, movies and science-fiction’ -Lawrence Alloway

Hamilton, Just What is it That Makes Today’s Homes so Different, so Appealing? (1956)

Created for the catalogue and used for one of the posters for the exhibition This is Tomorrow held at the Whitechapel Art Gallery, London, during August and September 1956. Collaged with images drawn chiefly from American illustrated magazines, it has become an emblem of the ‘Age of Boom’, the post-War consumer culture of the late 1950s. It has also become a manifesto for a movement. -John Paul Stonard, Pop in the Age of Boom (2007) http://burlington.org.uk/magazine/back-issues/2007/200709/

In one of the first accounts of British Pop art, published in 1963, it was presented as a catalytic work, and the next year was decreed ‘the first genuine work of Pop’. More recently it has been compared with the Demoiselles d’Avignon, and has been hailed as ‘the starting point of planetary Pop Art’...the ‘perfect Pop work’. -John Paul Stonard, Pop in the Age of Boom

http://www.youtube.com/watch?v=xEj8bZo9IGA

Eduardo Paolozzi Collage from BUNK

Forbidden Planet (1956)

Paolozzi, Acropolis Museum (1946) Collage

Collage from BUNK :It's a Psychological Fact Pleasure Helps your Disposition (1948)

“Kids are different today, I hear every mother say Mother needs something today to calm her down And though she's not really ill, there's a little yellow pill She goes running for the shelter of a mother's little helper And it helps her on her way, gets her through her busy day” Rolling Stones, Mothers Little Helper (1966)

In every dream home a heartache And every step I take Takes me further from heaven Is there a heaven? I'd like to think so Standards of living They're rising daily But home oh sweet home It's only a saying From bell push to faucet In smart town apartment The cottage is pretty The main house a palace Penthouse perfection ... Open plan living Bungalow ranch style All of it's comforts Seem so essential Roxy Music, In Every Dream Home a Heartache (1973)

Martha Rosler, Red Stripe Kitchen (from the series Bringing the War Home: House Beautiful), 1967–72. Photomontage

Henderson, Head of a Man (1956) Paolozzi, One Man Track Team (1952)

Henderson's images of the human head have been seen as the culmination of what he referred to as his 'stressed' photographs. These are full of destruction, atrophy and decay. They have been related to his traumatic experiences during the Second World War (1939-45) and have been seen to be suited to an age of nuclear anxiety. Tate Gallery (From the display caption September 2004)

The work was the centrepiece of a section of This is Tomorrow which was likened to 'a shed… excavated after an atomic holocaust'.

http://collages.askdefine.com This juxtaposition of signifiers, "at once serious and tongue-in-cheek," was fundamental to the inspiration behind collage. "Emphasizing concept and process over end product, collage has brought the incongruous into meaningful congress with the ordinary." -Guggenheim essay on Collage

Richard Hamilton, Homage to Chrysler Corp (1957)

Exquisite Form bra (1954)

Richard Hamilton Towards a definitive statement on the coming trends in men's wear and accessories (a) Together let us explore the stars (1962)

Hamilton fragments the images that surround us in everyday life, making reference to different styles and genres, and thereby reminding us, as Richard S Field observed, that ‘all means of image making… contain and conceal attitudes towards the world’. Yet this often ironic analysis of the image is counterbalanced by a delicate lyricism. -Richard Hamilton, image and process: Studies, stage, and final proofs from the graphic works 1952-82

Richard Hamilton, Interior 2 (1964)

This painting started from Hamilton’s fascination with a publicity still from the Douglas Sirk thriller Shockproof (1948) featuring the actress Patricia Knight in an oddly-lit and irregularly constructed living room, the body of a dead man at her feet. Knight stares slightly to the right of the viewer’s glance though her body faces left, a positioning identical to that of the central figure of Velázquez’s Las Meninas (1656), the Infanta Margarita, which Hamilton references in his essay on “Interiors” in Collected Words: “Velázquez’s great interior painting Las Meninas must have been hanging around in my head waiting for some loving attention.”

Diego Velázquez Las Meninas The Maids of Honour (1656)

The Meeting, or Bonjour Monsieur Courbet (1854)

Eduardo Paolozzi I was a rich man's plaything, (1947)

‘Pop’ in post-War Britain, while employing irony and parody, was more academic with a focus on the dynamic and paradoxical imagery of American popular culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while improving prosperity of a society. Gopnik, A.; Varnedoe, K., High & Low: Modern Art & Popular Culture, New York: The Museum of Modern Art, 1990

‘Early pop art in Britain was a matter of ideas fueled by American popular culture viewed from afar, while the American artists were inspired by the experiences of living within that culture.’ Gopnik, A.; Varnedoe, K., High & Low: Modern Art & Popular Culture, New York: The Museum of Modern Art (1990)

Andy Warhol, Campbell’s Soup Tins (1962)

James Rosenquist, I love you with my Ford (1961)

Pop and the (Postmodern?) in the UK Pop art should be; popular (designed for a mass audience) transient (short term solution) expendable (easily forgotten, low cost) young (aimed at youth), witty, sexy, gimmicky, and big business Richard Hamilton (1957)

PRODUCTION MODELS OF PRACTICE: DRAWING RESTRAINT CONTEXT MODELS OF THEORY: ARTISTS IN DIALOGUE RECEPTION MODELS OF DISPLAY: RESPONDING TO ENVIRONMENT