Plattsburgh State Art Museum|
State University of New York College at Plattsburgh
THE BRITISH ARE COMING
Hamiltonís cooler theoretical approach and Paolozziís visual complexity reflecting interest in Wittgensteinian word games and surrealist random associations, both represented a more detached and philosophical approach to art making than the RCA students, who were also a decade younger.
Hamilton proved to be an important
catalyst in that he showed this group of artists how screen-printing could be a means of disseminating their work to a broader audience. Hamilton,
in collaboration with Chris Prater at Kelpra Studio, had created a print that he considered to be a successful adaptation
of the painting Adonis in Y-fronts. The ICA published a series of screen-prints by twenty-four artists selected by Hamilton. Among the twenty-four were Peter Blake, Patrick Caulfield, David Hockney, R. B. Kitaj, Eduardo Paolozzi, Peter Phillips, and Joe Tilson, as well as abstract artists Bernard Cohen and Howard Hodgkin. Many of these artists showed an immediate affinity
for the mediumís characteristically
flat finish and machine-like precision and pursued the use of the medium. Chris Prater and Kelpra Studio along with Alecto editions became important collaborators in the recognition and growth of this group of artists.
The spirit of the times, the philosophy of the RCA, as well as its physical structure all contributed to it being the breeding ground for a new type of British art and sensibility. The School of Painting was adjacent to the School of Graphic Design and this proximity led to an inversion of what the head of the school had hoped would happen. RCAís principal, Robin Darwin, entertained the idea that the fine arts program would influence and inform the work of the Graphic Design program.
|(ARS), Permission for the reproduction of artwork courtesy of Artists Rights Society © 2006 Artists Rights Society (ARS), New York / DACS, London.|
(PSAM), Artwork from the permanent collection of Plattsburgh State Art Museum.
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