It has come to define the rise of consumer society in the mid to late s and is an icon of Pop art, although the original collage created in , on which this print is based, pre-dates that phenomenon by several years. For this group show teams of artists and architects were invited to create discrete zones that accorded with their vision of the future.
Hamilton worked with artist John McHale and architect John Voelcker on the second zone, presenting a sort of funfair vision of the future where sensual perception was stimulated and confused and images culled from a range of sources formed an iconography for the modern world. It shows a domestic interior complete with armchairs, coffee tables, pot plants and lamps. Such domestic appliances as a hoover, a television showing a woman talking on the phone on its screen, and a tape recorder that would have been considered state of the art in the s now appear extremely out-dated.
A framed comic strip on the wall, sandwiched between a traditional nineteenth century portrait and a window onto a movie theatre, also belongs to a passed era.
Representations of interiors have preoccupied Hamilton for many years. In he wrote that the objective of his collage:.
As its title indicates, this print is an upgraded version of an earlier image, already itself a remake. In Hamilton created an edition of colour facsimiles of the collage, printed by laserjet, altering the title to reflect on a retrospective view of the past. Tate P , an image that satirises the world of the collage and contemporary culture in relation to it, using a Quantel Paintbox application to collage digitally for the first time.
Expanding the possibilities of using digital technology to create art has become a central preoccupation for Hamilton since the s and he is always looking for improvements in ink and printing quality. In he released a more long-lasting version of the image in an upgraded edition intended to replace the first. Both versions of the print were distributed by Alan Cristea, London. Valencia Does this text contain inaccurate information or language that you feel we should improve or change?
He chose a postcard of a Spanish hotel bedroom that the artist Derek Boshier born had sent to him many years previously as the basis for the structure of the room. After scanning the image and cutting and pasting to enlarge the space, Hamilton began to fill it with domestic objects and the two human figures. The images he selected are all topical. A small bust on a plinth next to the window opening on a tank is a caricature of Margaret Thatcher British Prime Minister who encouraged the use of arms against Iraq after that country invaded Kuwait in In the centre of the room a white microwave on a white table sits next to a plate of dry fish-fingers; behind it, the film playing on the TV is The Lawnmower Man , directed by Brett Leonard , a film about the making of a virtual reality movie.
Above the microwave, the planet Jupiter hangs as a light fitting, in combined reference to the moon ceiling of the collage and a visit to the planet by the spacecraft Ulysses in It hangs above shelves of video cassettes and streamlined audio equipment.
In a humorous take on the dramatic shift in sexual identities and gender politics from the to the s, Hamilton substituted the image of a flexing female body builder that he found in a magazine for the voluptuous lady sitting on the sofa in the original version. Hamilton replaced the muscle-bound male body builder of with a photograph of a financier that he took himself in the City of London using a digital camera he had borrowed from Kodak.
The prints were donated by the British Broadcasting Corporation to viewers who contacted them to request a copy on a first come first serve basis. The remaining fifty prints were distributed by the BBC. Elizabeth Manchester June Does this text contain inaccurate information or language that you feel we should improve or change?
We would like to hear from you. Read more. This work is a remake of an image Hamilton originally created in as part of his contribution to the influential group exhibition This is Tomorrow at Whitechapel Art Gallery.
As part of a BBC television programme he demonstrated how an artist can use a computer to generate art by recreating the collage in a way that reflected the s, such as the circuit board wallpaper and caricature of Margaret Thatcher. Main menu additional Become a Member Shop. Hamilton was also akin to Duchamp temperamentally: Witty and wry with an occasional dash of acerbic , he was paradoxical, too, in his combination of refined tastes a gourmand, he was the toast of El Bulli and plebeian commitments forever dressed in workaday denim and cap, he consistently refused royal honors.
His greatest achievements, however, remain precisely the Pop paintings that did not sell initially. A pastiche of different techniques, marks, and signs painterly, photographic, collaged, abstract, figurative, modernist, and commercial , the tabular picture presents a hybrid space at once specific and sketchy in content, broken and seamless in facture, subtractive and additive in composition, and collaged and painterly in medium.
Like the flatbed picture, the tabular picture might appear horizontal both in the practical sense of how it is assembled in the studio sometimes flat on a table or floor and in the cultural sense that it scans images and texts across the continuum of high art and mass media. Nevertheless, Hamilton insists on the pictorial whereas Rauschenberg disrupts it: For all its horizontal tabulation of found images and texts, the tabular image remains a vertical picture of a semi-illusionistic space, even though this orientation is associated with the magazine layout or the media screen as much as with the painting rectangle.
Indeed, in keeping with his IG formation, Hamilton is communicative, almost pedagogical, in a way that Rauschenberg is not. This is so because even as he was committed to popular culture, he was still invested in the tableau tradition.
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