THE POP-ART PIONEER RICHARD HAMILTON

Photo of the exhibition

 

Richard Hamilton (1922- 2011), one of the faces of British art. He was the promoter of pop art. He began working in the advertising industry and later draftsman. After a twist of fate, he exhibited his first solo show in 1950. Influenced by Cézanne, cubism, futurism and chronography, he began his journey through movement and perspective. Industrial design is an element difficult to explain what it is today known as pop art.

 

 

Photo of the exhibition

 

It is the art of great graphic designs, which can be disc covers or advertising posters. This new technique fused popular culture with the aesthetics of art. Thus was born the pop art and all its slopes. To elevate to the category of the work, the everyday objects with which the people of a foot identify itself feels. The myths, a resource that came a lot and opened the door for others like Warhol to expand in a free and creative.

 

 

Photo of the exhibition

 

The exhibition that is in the IVAM (Valencian Institute of Modern Art), was inaugurated on November 10 and available until February 26. The keys to reading the sample are, objects, interiors, self-portraits and people. All is a case study and his work more. The exhibition is articulated from the genres used by the artist in the length of his career.

 

 

Richard Hamilton 'Just what is it that makes today's homes so different?'

 

 

To the sample must be added the films about the artist, Richard Hamilton. Documentary James Scott made in 1969 in close collaboration with the artist, and Richard Hamilton in the reflet of Marcel Duchamp directed by Pascal Goblot in 2014. All a beauty for all who want to review this great artist. For those who do not know it is a mandatory artist in your catalog of teachers.

 

 

 

 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.