Richard Hamilton Neo-dada and Pop Art in the United States ‘Popular, transient, expendable, low cost, mass-produced, young, witty, sexy, gimmicky, glamorous, and Big Business.’ In 1957 Hamilton wrote a letter to Alison and Peter Smithson outlining Pop’s characteristics as: Created for the group exhibition This is Tomorrow in 1956 at Whitechapel Gallery in London, the work takes a satirical approach to the new, superficial ‘American way of life’. In 1956 Hamilton attracted international attention with his collage, Just What is it that makes today’s homes so different, so appealing, 1956. His collages from the 1940s and 1950s are now often referred to as ‘proto-pop’ and his innovative lecture ‘Bunk’ at the Institute for Contemporary Arts in 1952 followed similar ideas. Paolozzi also made use of the word in a collage titled I Was a Rich Man’s Plaything, 1947. It is thought there are several origins for the term ‘pop’, as written about by Alloway, Smithson and Hamilton. Members included Eduardo Paolozzi, Richard Hamilton, Lawrence Alloway, and Alison and Peter Smithson. The Independent Group and the emergence of Pop Art in Britainįrom the early 1950s, a group of artists and writers called the ‘Independent Group’ would meet in London’s Institute for Contemporary Art to discuss the growing culture of movies, advertising and consumerism emigrating from the United States. Many Pop artists, particularly in the United States, reacted against the earlier, introspective language of Abstract Expressionism, aiming for mass appeal by blending elements of popular culture, through collage and printmaking, with traditional painting techniques. Following a period of post-war austerity, the movement focussed on the glamour of commercial design and media culture, speaking of optimism and possibility. It is so called because artists explored imagery from popular culture. Pop Art emerged in the decade or so following the Second World War, primarily in Britain and the United States.
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