tag:blogger.com,1999:blog-4053580708034997502024-03-13T07:50:04.635-07:00Prints by Eduardo Paolozzidavy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.comBlogger80125tag:blogger.com,1999:blog-405358070803499750.post-51564403648219318562023-02-22T04:28:00.002-08:002023-02-22T06:48:23.638-08:00Poster - War Posters, 1971<div style="text-align: justify;"> <span style="font-family: verdana;">Just came across a poster I've never seen before:</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEQDOddXTn-iyB_LL3oW4aaSIplEikW4RMGhm1PT3aP9hDAIL_a5J2hv22Aw_AiR-zM5Ryo-c8WGNzbuOSzSWsJ5x57UIKQxjjiniKJcIqwDk8SXy0GzIPWIZ-VPucQnsT8W8yqyORe_1HWBis3bOI-Jcla5gLAZU-A8_nYNNoo7BZJjeZv1GTa86/s800/WarPosters.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="539" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEQDOddXTn-iyB_LL3oW4aaSIplEikW4RMGhm1PT3aP9hDAIL_a5J2hv22Aw_AiR-zM5Ryo-c8WGNzbuOSzSWsJ5x57UIKQxjjiniKJcIqwDk8SXy0GzIPWIZ-VPucQnsT8W8yqyORe_1HWBis3bOI-Jcla5gLAZU-A8_nYNNoo7BZJjeZv1GTa86/w270-h400/WarPosters.jpg" width="270" /></a></div><div><br /></div><span style="font-family: verdana;"><div style="text-align: justify;">What a gem! Clearly, it's closely related to the <i>Universal Electronic Vacuum</i> print, <i><b><a href="https://paolozzi.blogspot.com/2014/04/war-games-revised.html">War Games Revised</a></b></i>, and the <i>ZEEP</i> print, <span style="background-color: white;"><i><b><a href="https://paolozzi.blogspot.com/2015/08/busy-and-brash.html">Agile Coin Gross Decision Logic</a> </b></i></span></div></span><div><div style="text-align: justify;"><span style="font-family: verdana; font-style: italic; font-weight: 700;"><br /></span></div><div><div style="text-align: justify;"><span style="font-family: verdana;">Commissioned by the Imperial War Museum in 1971, it's a litho, printed by Curwen Press.</span></div></div></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">Instantly shot into my top 10!</span></div>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-72390498703055223952019-01-03T04:51:00.002-08:002019-01-03T04:51:56.330-08:00Recycling<span style="font-family: Verdana, sans-serif;">After several contacts (thanks) I'll be progressively repeating the posts of the period 2013-18. I hope they'll be of interest once again. </span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-2926420545317257582018-08-31T11:52:00.000-07:002018-08-31T11:52:36.576-07:00Conclusion<span style="font-family: "verdana" , sans-serif;">With no new significant content for presentation, I'm now winding down this blog and removing the posts progressively.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">If you do have any particular interest in any aspect of Paolozzi's graphic work, I'd be happy to hear from you - I'm at david.buckden@btinternet.com</span><br />
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davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-73676029427410036732018-08-31T11:44:00.001-07:002019-03-27T08:45:25.897-07:00Moonstrips Empire News - introduction<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">The
quality of Bob Dylan’s creativity <b style="mso-bidi-font-weight: normal;">and his
productivity</b> were outstanding in the mid-Sixties.<span style="mso-spacerun: yes;"> </span>The three LPs, <i style="mso-bidi-font-style: normal;">Bringing It All Back Home</i>, <i style="mso-bidi-font-style: normal;">Highway
61 Revisited</i> and <i style="mso-bidi-font-style: normal;">Blonde on Blonde</i>,
’65-’66, constitute his very best work.<span style="mso-spacerun: yes;">
</span>Compare Eduardo Paolozzi and his printmaking, ’64-’67:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">As Is When</i>,
<i style="mso-bidi-font-style: normal;">Moonstrips Empire News</i> and <i style="mso-bidi-font-style: normal;">Universal Electronic Vacuum</i> –
masterworks all, embodying quality and quantity.</span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p> </o:p></span></span><br />
<span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p><span style="font-family: "verdana" , sans-serif;"></span></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Moonstrips</span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"> is a portfolio of 98<span style="color: red;"> </span>screenprints-
8 of which are signed/numbered – presented in a Perspex box.<span style="mso-spacerun: yes;"> </span>The prints are 380mm x 254mm.<span style="mso-spacerun: yes;"> </span>Additional sheets included in the box are a
title page, colophon and introduction by Christopher Finch.<span style="mso-spacerun: yes;"> </span>Printing was by Kelpra Studio and the box was
made by Herault Studios.<span style="mso-spacerun: yes;"> </span>The Portfolio
was published in 1967 in an edition of 500 by Editions Alecto.</span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p> </o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">In <i style="mso-bidi-font-style: normal;">As Is When </i>Paolozzi invited the viewer
to make both visual and linguistic connections, based on their own unique
experience and knowledge, between many disparate component images and
text.<span style="mso-spacerun: yes;"> </span>Here Paolozzi was developing the
ideas of Marcel Duchamp, an early pioneer of shifting the balance of activity
from the artist towards the viewer.<span style="mso-spacerun: yes;">
</span>Duchamp classified most art as being intended only to please the eye
(‘retinal art’); his mission was to ‘put art back in the service of the mind’. <span style="mso-spacerun: yes;"> </span>In <i style="mso-bidi-font-style: normal;">Moonstrips</i>
we can enjoy this latter objective being achieved whilst being fully indulged
retinally at the same time.</span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p> </o:p></span></span></div>
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<span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><span style="font-family: "verdana" , sans-serif;">In
Duchamp’s <i style="mso-bidi-font-style: normal;">Green Box</i> - 1934 – notes
about his <i style="mso-bidi-font-style: normal;">Large Glass </i>and other
related experimental works are presented in a box, unbound – leaving it to the
viewer to determine the order of their consideration:</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Moonstrips </span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">follows the same principle, constituting what Paolozzi
thought of as a ‘terrestrial image bank’.</span></span></div>
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<span style="font-family: "verdana" , "sans-serif"; font-size: 10pt;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Regarding
language and its relationship to thinking, Paolozzi’s writing activity
developed in summary as follows:</span></span></span><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri; mso-hansi-font-family: Calibri;"><o:p><span style="font-family: "calibri";"> </span></o:p></span></div>
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<span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">In
notes from a lecture at the ICA, 1958, he used words as units in a verbal
collage</span></span></span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p><span style="font-family: "verdana" , sans-serif; font-size: x-small;"> </span></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Metafisikal Translations</span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"> (1962) – words/phrases were strung
together to create a meaning larger than the component parts.<span style="mso-spacerun: yes;"> </span>Spellings were played with and typefaces
varied in order to enhance ambiguities</span></span></span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p><span style="font-family: "verdana" , sans-serif; font-size: x-small;"> </span></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Wild Track for Ludwig</span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">- a text included in <i style="mso-bidi-font-style: normal;">As
Is When </i>–is characterised by the use of found fragments of writing and its
composition/editing by a semi-spontaneous method</span></span></span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p><span style="font-family: "verdana" , sans-serif; font-size: x-small;"> </span></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Kex</span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"> (1966)
collage novel.<span style="mso-spacerun: yes;"> </span>In this Paolozzi ceded
control of the final output by delegating editing and layout to Richard
Hamilton</span></span></span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p><span style="font-family: "verdana" , sans-serif; font-size: x-small;"> </span></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Mnemonic Weltschmerz with probability transformations</span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"> – the text in <i style="mso-bidi-font-style: normal;">Universal Electronic Vacuum</i> – was
rendered with no sections/paragraphs</span></span></span><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"><o:p><span style="font-family: "verdana" , sans-serif; font-size: x-small;"> </span></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">Moonstrips</span></i><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;"> – words were used as units in themselves, often as a
self-sufficient idea-image.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Moonstrips</i> was much more experimental
with typography and layout.<span style="mso-spacerun: yes;"> </span>Material was
derived from a vast number of sources</span></span></span><span style="font-family: "verdana" , "sans-serif"; font-size: 10pt;"><o:p> </o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , "sans-serif"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Calibri;">However,
in this blog I want to concentrate on the visual image sheets - there are no
less than 55 of them to enjoy!</span><span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: EN-GB;"><o:p></o:p></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-87157635103288729142018-07-02T09:11:00.000-07:002019-03-27T08:45:26.026-07:00In Praise of Church-going<br />
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<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;">Thinking
of Eduardo’s childhood, I wonder to what extent his visual ‘vocabulary’ was –
perhaps sublimely – influenced by an environment that enveloped him at least
once a week:<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Courtesy Cruon</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;">This
is the (Roman Catholic) St Mary Star of the Sea Church, Leith.<span style="mso-spacerun: yes;"> </span>The exterior is rather sombre, the work of
Pugin and Hansom, typical of the mid-Victorian (1854) Gothic style.<span style="mso-spacerun: yes;"> </span>But, inside, we see rich patterns and visual
structures that surely echo themes and devices that figured in the 60s/70s print
series:<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;">The
second of these photographs (courtesy of Barry Gordon) shows the pattern-rich nature
of this interior.<span style="mso-spacerun: yes;"> </span>With geometric themes
in the tiles of the floor and the wall surfaces along with several elements of
the windows, I’m sure we are looking at the basis of many of Eduardo’s images,
especially where blocks of pattern were ‘assembled’ in the manner of a physical
building.<o:p></o:p></span></div>
<br />davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-3822259794911255442018-05-23T06:42:00.000-07:002019-03-27T08:45:25.065-07:00Some More Exhibition Posters<span style="font-family: "verdana" , sans-serif;">Two posters I acquired last year:</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
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<a href="https://1.bp.blogspot.com/-exA7Kq3yzGI/WwVvMgkewWI/AAAAAAAABOk/C4ZMigzvMl0Dy_sh-zXWXiRd1XPJ6LIAACLcBGAs/s1600/DSC_0002_00002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="854" height="320" src="https://1.bp.blogspot.com/-exA7Kq3yzGI/WwVvMgkewWI/AAAAAAAABOk/C4ZMigzvMl0Dy_sh-zXWXiRd1XPJ6LIAACLcBGAs/s320/DSC_0002_00002.jpg" width="170" /></a></div>
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<br />davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-67309543638933650382018-04-01T06:40:00.000-07:002019-03-27T08:45:25.722-07:00Eduardo was sound on Europe<br />
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">In the current Brexit context, good to see
that Eduardo was a ‘Common Market’ man rather than a fan of the federal
nightmare. That’s not to say that he
didn’t like Europe itself – after all, he spent a lot of time in Germany
teaching and working. But, as you see, like
many others of us, he left Paris ‘with his tail between his legs.’ And, as a prophet of the Brexit global-trading
philosophy, note that Eduardo was selling mostly into the U.S. The cutting is from <i>The Tatler</i>, August 1962 –
a publication which regularly reported on his work and exhibitions during the Sixties:</span></div>
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<a href="https://4.bp.blogspot.com/-OaLhQBDXEuE/WsDgYlQAgcI/AAAAAAAABNQ/W1hxkAW2lwYNbjmtZhGS_K3tV3932m5kACLcBGAs/s1600/TheTatler29-08-1962.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="1132" height="222" src="https://4.bp.blogspot.com/-OaLhQBDXEuE/WsDgYlQAgcI/AAAAAAAABNQ/W1hxkAW2lwYNbjmtZhGS_K3tV3932m5kACLcBGAs/s400/TheTatler29-08-1962.jpg" width="400" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: x-small;">© Illustrated London
News Group</span></div>
<br />davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-82452137716577040072018-01-29T08:06:00.000-08:002019-03-27T08:45:25.983-07:00Aye, Robot (apologies to Isaac Asimov)<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Paolozzi,
the digital artist in a still-analogue age, had a fascination with robots,
especially around 1970. Nearly 50 years
on, these things are now frequently in the news as examples break through from
being laboratory projects into the everyday environment, for instance as
now-practicable housework ‘assistants,’ and, <i>yikes</i>, as functioning sexual partners. What was science fiction to us 1950s/60s/70s-dwellers
is fast becoming everyday reality.
Disappointingly, the aesthetics of realisation don’t compare well with
the imaginations of Fifties artists,</span> <i><span style="font-family: "verdana" , sans-serif;">Eagle’s</span></i>
<span style="font-family: "verdana" , sans-serif;">Frank Hampson for
instance, whose visualisation of the dashing man in space – <i>Dan Dare</i> – makes Apollo
moonwalker Buzz Aldrin look no more than a
lumbering, jazzed-up Michelin Man.</span></div>
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<a href="https://4.bp.blogspot.com/-GUMnVpc-tjk/Wm9BC33klMI/AAAAAAAABMI/4Lavj4EMaQIeE-aIwLwux-xkvOsp6h4WgCLcBGAs/s1600/DanDareColl2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="376" data-original-width="495" height="243" src="https://4.bp.blogspot.com/-GUMnVpc-tjk/Wm9BC33klMI/AAAAAAAABMI/4Lavj4EMaQIeE-aIwLwux-xkvOsp6h4WgCLcBGAs/s320/DanDareColl2.jpg" width="320" /></a></div>
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<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Likewise,
the primary-coloured tin and plastic toy robots of the Fifties appear much more
characterful than the rather sterile-looking models now emerging, (though in
regard to the sexually active ones, being hygienically sterile may well be a
very desirable attribute . . .)</span></div>
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<a href="https://1.bp.blogspot.com/-k3Pq6Eso3hw/Wm9BYczu-CI/AAAAAAAABMM/fZl0NQ6bNHck-ayZpllqxx23S9ucJzHkQCLcBGAs/s1600/Sir-Eduardo-Paolozzi--col-014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="1225" height="192" src="https://1.bp.blogspot.com/-k3Pq6Eso3hw/Wm9BYczu-CI/AAAAAAAABMM/fZl0NQ6bNHck-ayZpllqxx23S9ucJzHkQCLcBGAs/s320/Sir-Eduardo-Paolozzi--col-014.jpg" width="320" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Robots amongst a
sample of the collection of toys amassed over many years by Paolozzi</span></div>
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<a href="https://1.bp.blogspot.com/-V-9jLUdOINU/Wm9B1J0dcKI/AAAAAAAABMU/L-m9S4-l_1IEr5VTJl8NEa4hVn1G-ezugCLcBGAs/s1600/Croppednintchdbpict000248561711.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="912" data-original-width="536" height="320" src="https://1.bp.blogspot.com/-V-9jLUdOINU/Wm9B1J0dcKI/AAAAAAAABMU/L-m9S4-l_1IEr5VTJl8NEa4hVn1G-ezugCLcBGAs/s320/Croppednintchdbpict000248561711.jpg" width="188" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Sexbot as pictured in
the </span><i style="font-family: Verdana, sans-serif; font-size: 8pt;">Sun</i><span style="font-family: "verdana" , sans-serif; font-size: 8pt;">, January 2017</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">But,
back to 1970, and it’s a bit awkward in the Artist’s studio since it looks as
if Eduardo’s chat-up lines were not impressing his mechanical companion:<span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://2.bp.blogspot.com/-1JmvTRz3Gr8/Wm9CDnzoyAI/AAAAAAAABMY/AIpFeWHA2VU3FoH9CHL_KM0him3E9RsUwCLcBGAs/s1600/epr001small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="785" height="217" src="https://2.bp.blogspot.com/-1JmvTRz3Gr8/Wm9CDnzoyAI/AAAAAAAABMY/AIpFeWHA2VU3FoH9CHL_KM0him3E9RsUwCLcBGAs/s320/epr001small.jpg" width="320" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Courtesy of Robin
Spencer (Eduardo Paolozzi: Writings and Interviews)</span></div>
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<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Paolozzi
said of the etchings series, <i>Cloud Atomic
Laboratory</i>, (1971):<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "verdana" , sans-serif;">The schism that
separates Space Age Engineering, technical photography, film making and types
of street-art from fine art activities is for many people/artists unbridgeable.<o:p></o:p></span></i></div>
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<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "verdana" , sans-serif;">Within the grand
system of paradoxes, the theme of this portfolio is the Human Predicament.
Content enlarged by precision. History shaded into the grey scale as in the
television tube.</span></i><span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">‘<i>Le Robot Robert</i>,’ is from the series:<span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://4.bp.blogspot.com/-aOkz81Yj9u4/Wm9CVvzu54I/AAAAAAAABMg/Qbqj962qXcsthJoNXQuXZdUkNOAN7GvWwCLcBGAs/s1600/Tate%2BRobert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1049" data-original-width="1536" height="218" src="https://4.bp.blogspot.com/-aOkz81Yj9u4/Wm9CVvzu54I/AAAAAAAABMg/Qbqj962qXcsthJoNXQuXZdUkNOAN7GvWwCLcBGAs/s320/Tate%2BRobert.jpg" width="320" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">© Trustees of the
Paolozzi Foundation</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Below
is a detail of the '<i>Shelves of Readymades'</i>
which was made for the 1971 Tate Paolozzi exhibition. This has been preserved within the <i>Krazy Kat Archive</i> kept at the V&A.:<span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://4.bp.blogspot.com/-EF7Xk6b3bg0/Wm9CnMROEBI/AAAAAAAABMo/yftyUhKsxP0LGlyBBTjuKdfzu43v_C7SACLcBGAs/s1600/epr003Cropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="748" height="149" src="https://4.bp.blogspot.com/-EF7Xk6b3bg0/Wm9CnMROEBI/AAAAAAAABMo/yftyUhKsxP0LGlyBBTjuKdfzu43v_C7SACLcBGAs/s320/epr003Cropped.jpg" width="320" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Courtesy of Robin
Spencer (Eduardo Paolozzi: Writings and Interviews)</span></div>
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<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Much
convoluted theorising is valid about Paolozzi’s purpose in using robots as
subject matter – analogy with issues of control/subservience in a new technological-age,
for example – but he said something much more straightforward in 1960 talking
to Edouard Roditi:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "verdana" , sans-serif;">. . . if one of us
(sculptors) chances to find a particularly nice and spooky-looking piece of
junk like an old discarded boiler, he can scarcely avoid using it as the trunk
or body of a figure, if only because its shape suggests a body to anyone who
sets out to do this kind of assembly work.
Then one only needs to weld something smaller onto the top to suggest a
head, and four limb-like bits and pieces onto the sides and the bottom to
suggest arms and legs, and there you have the whole figure, which has come to
life like a traditional Golem or robot . . .<o:p></o:p></span></i></div>
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<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">This
late Seventies book with its strangely engaging cover image was referenced by
Paolozzi:<span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://4.bp.blogspot.com/-pfxb4fARJnI/Wm9Czp5OSAI/AAAAAAAABMs/nH8HdZTMmIQqgYh6XkzwHUtZkYXd3AHvgCLcBGAs/s1600/Malone%2BBook%2Bcover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="482" height="320" src="https://4.bp.blogspot.com/-pfxb4fARJnI/Wm9Czp5OSAI/AAAAAAAABMs/nH8HdZTMmIQqgYh6XkzwHUtZkYXd3AHvgCLcBGAs/s320/Malone%2BBook%2Bcover.jpg" width="244" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><br /></span></div>
<div class="MsoNoSpacing" style="text-align: left;">
<span style="font-family: "verdana" , sans-serif;">Paolozzi’s
interest in these things as subject matter was sustained through to near the
end of his career, as demonstrated by the most impressive sculpture, ‘<i>Vulcan</i>,’ installed
in the Dean Gallery, Scottish National Gallery of Modern Art:</span></div>
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<a href="https://1.bp.blogspot.com/-XLfhA5ZvIU0/Wm9DDdc-bkI/AAAAAAAABM0/zom6O6CcR0kXNrCSn45OI_ITR5z_gODAQCLcBGAs/s1600/Vulcancropped.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="764" data-original-width="585" height="320" src="https://1.bp.blogspot.com/-XLfhA5ZvIU0/Wm9DDdc-bkI/AAAAAAAABM0/zom6O6CcR0kXNrCSn45OI_ITR5z_gODAQCLcBGAs/s320/Vulcancropped.jpg" width="245" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">© (c) Trustees of the
Paolozzi Foundation</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">And,
meanwhile, over at the National Museum of Scotland, some more Paolozzi robotic
creations keep guard of a collection of ‘early-man’ artefacts:</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-HVRlBq2jtpQ/Wm9DV-r1mQI/AAAAAAAABM8/ONfVDUP20YAL-eMoGtTLawQQZY0gkJMowCLcBGAs/s1600/Cropped%2B3-paolozzi-figures-them-and-us-in-ep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="259" src="https://2.bp.blogspot.com/-HVRlBq2jtpQ/Wm9DV-r1mQI/AAAAAAAABM8/ONfVDUP20YAL-eMoGtTLawQQZY0gkJMowCLcBGAs/s1600/Cropped%2B3-paolozzi-figures-them-and-us-in-ep.jpg" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">© National Museums
Scotland</span></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><br /></span></div>
<div class="MsoNoSpacing" style="text-align: left;">
<span style="font-family: "verdana" , sans-serif;">Paolozzi had always liked to explore the juxtaposition of images and objects, contrasting the mundane with the deeply philosophical for example. I think therefore that he'd be particularly pleased with this installation.</span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com2tag:blogger.com,1999:blog-405358070803499750.post-64388066677561172082017-12-01T13:28:00.000-08:002019-03-27T08:45:25.590-07:00Cutting and Pasting - for real!<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">As
noted in this blog a time or two previously, I often reflect on Paolozzi’s
achievement in creating his complex, collage-based 60s/70s prints without the
aid of the electronic/digital software we today take for granted. His hands will have suffered the ravages of several
craft processes including ‘cutting and pasting,’ in which nasty sharp blades
and various ‘toxic’ adhesive substances – think of <i>Cow Gum</i> fumes for instance – were involved. But not always just Paolozzi’s own fair hands
. . .<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">In
this connection I had the good fortune recently to be contacted by Keith Coates
Walker, Educator and Musician, who told me that he had been an assistant to
Paolozzi on the Z.E.E.P. series. (Keith
also acted in this capacity for Pop Art stars, Jim Dine and Claus Oldenburg.)<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Since
there have been several accounts of ‘difficult’ working relationships with
Eduardo, Keith’s general comments are interesting:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "verdana" , sans-serif;">I suppose he could
appear a bit remote and not personable . . . he was totally focused on his
work, nothing else seemed to matter to him.
However he was on the other hand a very generous human being and I got
along with him very well. It was
certainly an interesting time and I enjoyed the experience enormously.<o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Regarding
working practice, Keith explains:<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<i><span style="font-family: "verdana" , sans-serif;">Eduardo gave me a
range of ephemera which were a mix of bits of packaging, magazine clips etc
which he wanted converting to line drawings.
These were then photographed individually; (this, of course, was before
Photoshop!) The resulting images were then printed as black and white
photographs. The next stage was to construct the intended print as a full size
paste-up. This itself was then
photographed and an offset litho plate was made and a number of copies were run
off so that I could work on the colour separations. <o:p></o:p></span></i></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;"><i>The next stage </i>(see example Z.E.E.P.
‘Agile Coin Gross Decision Logic‘ image below)<i> was to work out the colours and the general balance. This was done in three shades of grey.</i></span></div>
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<i><span style="font-family: "verdana" , sans-serif;"><br /></span></i></div>
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<a href="https://3.bp.blogspot.com/-_xR60et5Uak/WiHGXJ6QvWI/AAAAAAAABLE/J1v3DHd0eHYUNxt2pHLoPCZ70dPqHfHnwCLcBGAs/s1600/ep%2B2sm.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="566" data-original-width="395" height="320" src="https://3.bp.blogspot.com/-_xR60et5Uak/WiHGXJ6QvWI/AAAAAAAABLE/J1v3DHd0eHYUNxt2pHLoPCZ70dPqHfHnwCLcBGAs/s320/ep%2B2sm.png" width="223" /></a></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;"><i>The next stage </i>(see Z.E.E.P. example
image below)<i> saw the introduction of a
couple of shades of blue.</i></span></div>
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<i><span style="font-family: "verdana" , sans-serif;"><br /></span></i></div>
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<a href="https://4.bp.blogspot.com/-lsvNeP0uMGc/WiHGhya4ZSI/AAAAAAAABLI/w_-GAOjBK4cYdkZihjg6ePI5jvo4vw0jACLcBGAs/s1600/ep%2B4sm.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="582" data-original-width="403" height="320" src="https://4.bp.blogspot.com/-lsvNeP0uMGc/WiHGhya4ZSI/AAAAAAAABLI/w_-GAOjBK4cYdkZihjg6ePI5jvo4vw0jACLcBGAs/s320/ep%2B4sm.png" width="221" /></a></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;"><i>In the next stage </i>(again see Z.E.E.P.
example image below)<i> I added Letraset
textures and decided on the final colour separations.</i></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;"><i><br /></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-howmXhwEClQ/WiHG4OF8axI/AAAAAAAABLQ/vo9IxnRnUwEKwi5UHcV-hbjSj3Kk-QD0QCLcBGAs/s1600/ep%2B5sm.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="578" data-original-width="392" height="320" src="https://3.bp.blogspot.com/-howmXhwEClQ/WiHG4OF8axI/AAAAAAAABLQ/vo9IxnRnUwEKwi5UHcV-hbjSj3Kk-QD0QCLcBGAs/s320/ep%2B5sm.png" width="217" /></a></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;"><i>At every stage there
were a good few number of prints done to play around with so that alterations
could be made. If I remember it
correctly the whole process took about 6 months. Doing the initial drawings was the easy part,
it was the rest that was lengthy, to and fro from the photographer and the
printers. This was the first time that Eduardo had used offset litho for his
prints - prior to that he had always used screen printing. The printers* specialised
in map printing - in fact on the back of the image above is a map, this being
the first off the press having made use of a piece of ‘scrap’ paper. I'm assuming this is now quite a rarity.</i><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">*
Advanced Graphics<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">I
am very grateful to Keith for his generosity in providing this insight into a
process that has not previously been detailed elsewhere. Keith himself is keeping the particular
creative style in play with his own prints, for example, <i>Shock Velocity 113 </i>(upper), and <i>Biscotti’s
Dream</i> (lower) as below:<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-vkmw74gt9RM/WiHHFJkxaII/AAAAAAAABLU/FaAshim32WQnY55qVXaRBGCoYPOfopk1wCLcBGAs/s1600/Shock%2BVelocity%2Bsmall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="434" data-original-width="311" height="320" src="https://2.bp.blogspot.com/-vkmw74gt9RM/WiHHFJkxaII/AAAAAAAABLU/FaAshim32WQnY55qVXaRBGCoYPOfopk1wCLcBGAs/s320/Shock%2BVelocity%2Bsmall.jpg" width="229" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">© Keith Walker</span></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-QdWZ0bkX1pM/WiHHQpchFFI/AAAAAAAABLY/rXJP40oXuWE6fl-SHyqMh945JfkpkbMnwCLcBGAs/s1600/Biscotti%2527s%2BDream.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1207" data-original-width="845" height="320" src="https://3.bp.blogspot.com/-QdWZ0bkX1pM/WiHHQpchFFI/AAAAAAAABLY/rXJP40oXuWE6fl-SHyqMh945JfkpkbMnwCLcBGAs/s320/Biscotti%2527s%2BDream.jpg" width="224" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">© Keith Walker</span></span></div>
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<br /></div>
<div class="MsoNoSpacing" style="text-align: left;">
<span style="font-family: "verdana" , sans-serif;">There’s
much, much more, at https://www.flickr.com/photos/16365955@N07/ - so indulge
yourself!</span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-40465635293822461602017-11-22T06:38:00.001-08:002019-03-27T08:45:25.110-07:00IT’S NICE THAT blog<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;">This
is a very interesting and well-produced post on the <i>It’s Nice That</i> blog by
Billie Muraben.</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">It’s rich in anecdote
about Paolozzi and illustrated with some excellent photography:</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"> </span></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 13.3333px;">https://www.itsnicethat.com/features/eduardo-paolozzi-unseen-works-private-collections-art-110717</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 13.3333px;"><br /></span></span></div>
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<a href="https://2.bp.blogspot.com/-R6d2CjCto_I/WhWLaCJVf_I/AAAAAAAABJ8/NkhNSealrnUUKeAWG1-fcTBQ_LxYoHVCQCLcBGAs/s1600/Jamie_Stoker_Eduardo_Paolozzi_Its_Nice_That_hero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="834" data-original-width="1600" height="166" src="https://2.bp.blogspot.com/-R6d2CjCto_I/WhWLaCJVf_I/AAAAAAAABJ8/NkhNSealrnUUKeAWG1-fcTBQ_LxYoHVCQCLcBGAs/s320/Jamie_Stoker_Eduardo_Paolozzi_Its_Nice_That_hero.jpg" width="320" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 13.3333px;"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 13.3333px;"><br /></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-50357309896634683142017-07-19T07:00:00.000-07:002019-03-27T08:45:25.330-07:00The Third Dimension Flattened<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;">A
rarely-seen lithograph recently crossed my path.</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">It’s from 1963 and, as far as I know, is untitled:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-m5pkFqzagx8/WW9j-bJwXsI/AAAAAAAABHw/zYv4f-zxHIszKC0k--uFIxYmZOMyqs1NQCLcBGAs/s1600/CroppedLitho63.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1320" data-original-width="1160" height="320" src="https://2.bp.blogspot.com/-m5pkFqzagx8/WW9j-bJwXsI/AAAAAAAABHw/zYv4f-zxHIszKC0k--uFIxYmZOMyqs1NQCLcBGAs/s320/CroppedLitho63.jpg" width="281" /></a></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;">The
image featured in <i>The Metallization of a
Dream. </i>This book, created by John
Munday, gathered together a selection of Paolozzi’s fifties/early sixties work. A commentary text was contributed by Lawrence
Alloway. It was published by the Royal
College of Art’s ‘Lion & Unicorn Press’ in an edition of 400.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;">Both
graphic and sculptural work is included, with an emphasis on technological
source imagery and components, often of automotive industry origin.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;">Although
a pleasingly ‘flat’ image, the print could well be an intermediary study for a
sculpture piece typical of Paolozzi’s output in the first few years of the
sixties decade. For comparison, here,
below, are some example three-dimensional ‘cousins’:<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 10.0pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-2sXOpjlK95s/WW9kQfkqgQI/AAAAAAAABH0/QiN4Io_3jWUMylPQokJao9IEFzRXQKIPQCLcBGAs/s1600/Cropped%2BThe%2BTwin%2BTower%2Bof%2Bthe%2BSfinx-State%2BII%2B1962.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="436" height="200" src="https://3.bp.blogspot.com/-2sXOpjlK95s/WW9kQfkqgQI/AAAAAAAABH0/QiN4Io_3jWUMylPQokJao9IEFzRXQKIPQCLcBGAs/s200/Cropped%2BThe%2BTwin%2BTower%2Bof%2Bthe%2BSfinx-State%2BII%2B1962.jpg" width="191" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">The Twin Tower of the
Sfinx-State II (1962)</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-PyR_ZtgnSZY/WW9kc1It3KI/AAAAAAAABH4/PeAjD8zbMOgGUJA7HLEZqkwdCgI3Qxb5ACLcBGAs/s1600/Imperial%2BWar%2BMuseum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1207" height="200" src="https://4.bp.blogspot.com/-PyR_ZtgnSZY/WW9kc1It3KI/AAAAAAAABH4/PeAjD8zbMOgGUJA7HLEZqkwdCgI3Qxb5ACLcBGAs/s200/Imperial%2BWar%2BMuseum.jpg" width="150" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Imperial War Museum (1962)</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><br /></span></div>
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<a href="https://2.bp.blogspot.com/-NkfRsmEfvxU/WW9krA8eIhI/AAAAAAAABH8/-Nysn1-eqZkXgYuXrbtcVO26z6ulIIDPACLcBGAs/s1600/Tower%2Bfor%2BMondrian.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1037" height="200" src="https://2.bp.blogspot.com/-NkfRsmEfvxU/WW9krA8eIhI/AAAAAAAABH8/-Nysn1-eqZkXgYuXrbtcVO26z6ulIIDPACLcBGAs/s200/Tower%2Bfor%2BMondrian.jpg" width="129" /></a></div>
<div class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Tower for Mondrian
(1963-4)</span></div>
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<br /></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-6937323540328143312017-06-09T06:41:00.000-07:002019-03-27T08:45:25.765-07:00More, NOT Less<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Quite
an unpleasant critique by Otto Saumarez of Paolozzi’s oeuvre in <i>Apollo</i>
magazine, 4<sup>th</sup> May issue.
Saumarez highlights Eduardo’s “willingness to embrace ugliness and
discordance” in a negative sense. I
would suggest that this attribute, coupled with an ability to find and use
images/objects of great beauty, was vital in Paolozzi’s achievements in creating artworks
with multi-dimensional relevances and interpretations.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">The
critique suggests that Paolozzi’s modernism is, “far removed from the <i>elegant
smoothness</i> of Henry Moore as it is possible to imagine.” I’d say however that endless reiterations of
that <i>elegant smoothness</i> leave us with a very predictable and non-stimulating
oeuvre, whereas Paolozzi delights with ever-changing, fresh and thought-provoking
work in a range of media.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Saumarez
claims in regard to Pop that Paolozzi, “has none of the panache brought to the
style by its best purveyors.” I thought
it had long ago been accepted that Paolozzi was never, simplistically, a “Pop
Artist” and once you’ve reviewed the scope of the print series such as <i>Moonstrips</i>, you certainly won’t be
thinking of its creator as someone lacking panache!<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">In
this blog, and elsewhere, I’m happy to admit that I’ve never liked Paolozzi’s
sculpture as much as the graphic work.
However, I would consider the Sixties/early Seventies pieces – often with
echoes of forms/ideas seen in the print series – very evocative of the spirit
of experimentation/use of industrial techniques which characterises that period. To refer to, “the vacuous slickness of his
aluminium and chrome-plated sculptures of the mid to late ’60s,” has no
relationship to reality in my view. I
may be being a bit thick, but I don’t detect any <i>vacuous slickness</i> about this
1969 ‘Study for ‘Osaka Steel:"<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-Sd0Wlm799ls/WTqjWFpzWXI/AAAAAAAABHg/m081BCLqiokiBs_VP42SiHz2kzsfJTxhgCLcB/s1600/ups016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1266" data-original-width="1600" height="253" src="https://4.bp.blogspot.com/-Sd0Wlm799ls/WTqjWFpzWXI/AAAAAAAABHg/m081BCLqiokiBs_VP42SiHz2kzsfJTxhgCLcB/s320/ups016.jpg" width="320" /></a></div>
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<br />
<div align="center" class="MsoNoSpacing" style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">Courtesy N. J.
Cotterell</span><span style="font-size: 8pt;"><o:p></o:p></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-41200997512971149722017-02-03T05:21:00.000-08:002019-03-27T08:45:25.197-07:00Back to History<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Almost
<i>pre</i>-history in fact – i.e. even
before <i>As Was When</i>!<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Making
collages, Paolozzi was limbering up for his fabulous Sixties graphics series in
the preceding decade. Between these and ‘<i>As Is When’</i> there were a few works of
special significance since they ‘practised’ that series’ very particular
format, style and content.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">‘<i>The History of Nothing</i>’ was a short (12
mins) black & white film made by Paolozzi with the help of Denis
Postle. Inspired by Dada/Surrealist
ideas, it consisted of an animated series of collages. In anticipation of concepts for a new kind of
interactive fine art which would fully emerge at the end of the decade, it is
likely that Paolozzi hoped that by bombarding the viewer with unrelated images
a new, self-contained perception of reality would be engendered. This would be based on the notion that the
human brain when presented with images without visually- or linguistically-indicated
logical relationships will by default ‘invent’ connecting links intuitively.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<span style="line-height: 107%;"><span style="font-family: "verdana" , sans-serif;">In 1962 Paolozzi started
working at Kelpra Studio with Chris Prater. One of their first collaborations was a
screenprint, ‘<i>Four Stills from the
History of Nothing</i>’. This was based
on a collage he had made whilst teaching in Hamburg. The main, central elements include items of
mining machinery and a strange striped cat set in a constricted, striped
environment. This is the print:</span></span><br />
<span style="line-height: 107%;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-L16hd3vW400/WJSAiTr5vTI/AAAAAAAABGE/WNNBa24NlOMBJQEun7rMVCugemw_XTQmwCLcB/s1600/P04748_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-L16hd3vW400/WJSAiTr5vTI/AAAAAAAABGE/WNNBa24NlOMBJQEun7rMVCugemw_XTQmwCLcB/s320/P04748_10.jpg" width="227" /></a></div>
<div style="text-align: center;">
<span style="background-color: #f4f6f8; color: #444444; font-family: sans-serif; font-size: xx-small; text-align: left;">© TheTrustees of the Eduardo Paolozzi Foundation</span></div>
<div style="text-align: center;">
<span style="line-height: 107%;"><span style="background-color: #f4f6f8; color: #444444; font-family: sans-serif; text-align: left;"><span style="font-size: xx-small;"><br /></span></span></span></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">I
believe that Paolozzi intended to ramp-up stimulation of our (the viewer)
creative perception by confusing us with both the print’s title and the presentation
of the component images. With the word ‘<i>history</i>’ it is natural to think of
information conveyed in a linear, progressive format, (often a ‘chronology’ or
‘timeline’). Paolozzi’s style in overall
picture composition and the juxtaposition of component elements denies such a
perception.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Here,
as in so many of the Sixties graphic works, images of machinery/technology
feature prominently. At that time the
range and capability of technology was expanding at an unprecedented rate of
progress, especially because of the invention of electronics. Equally some more familiar technologies –
from the Industrial Revolution for instance – had, by virtue of their relative
simplicity and size, become ‘quaint’ and ‘olde-worlde’, (‘historic’). But the functionality of contemporary, more
‘hi-tech’ machines and devices would revolutionise the potential for image
manipulation; I guess that Paolozzi fully foresaw how computers would enable an
artist to create imagery with a freedom and sophistication that was impossible
at that mid-century point for him with his meagre ‘tool kit’ of hard-copy
print source material, knife, scissors and adhesives.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">From
a 2017 viewpoint potential referencing is intriguing. For instance, is that Schrödinger’s cat? (age
27: not bad for a Felis catus) – you know, the one that inhabits the box in the
service of quantum mechanics theory? – a discipline that will not reach general
‘popular’ awareness until the end of the 20<sup>th</sup> century; and what of
coal mining, the basis for a technology that is seen as a major contributor to
global-warming, a phenomenon which threatens to spell the <i>end</i> of history?<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">The
magazine wrapper fragments provide a wry comment on the value of
information. Here packaging is the
visual device used, with no sign of what would have been physically within,
what should surely have been the object of interest, i.e. the magazine itself,
and, in a further non-apparent layer, the informational content of the
magazine. In this way Paolozzi seems to
have been practising the way of thinking with ‘pictures’ as would be a concern
of <i>As Is When,</i> as well as rehearsing
that series’ characteristic visual devices and their rendering.<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="font-family: "verdana" , sans-serif;">Purely
visually, this print looks to me to be a close relative of: <i>Artificial Sun</i> and <i>Reality</i> (As Is When); <i>Protocol
Sentences</i> (Universal Electronic Vacuum); <i>King Kong King Kong</i> (Moonstrips Empire News) and <i>The ABC of Z</i> (General Dynamic Fun).<o:p></o:p></span></div>
<div class="MsoNoSpacing">
<br /></div>
<span style="line-height: 107%;">
<span style="font-family: "verdana" , sans-serif; line-height: 107%;">But, whatever its
antecedents and ‘offspring,’ it’s yet another great one!</span></span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-16316613355662274382017-01-05T07:50:00.000-08:002019-03-27T08:45:24.762-07:00Overdue Re-evaluation<span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;">Rick Poynor began his succinct post about Eduardo on </span></span><span style="color: #666666; font-family: "verdana" , sans-serif;">http://www.eyemagazine.com/opinion/article/incisive-vision thus:</span><br />
<span style="color: #666666; font-family: "verdana" , sans-serif;"><br /></span>
<span style="background-color: white; color: #666666; font-family: "verdana" , sans-serif;"><i><span style="font-size: x-small;">Since Eduardo Paolozzi died in 2005 after several years of illness, a reassessment of his work has been gathering momentum. It’s a welcome development. For admirers of the Scottish artist, born to Italian parents, it sometimes seemed that, despite his knighthood in 1988 – or maybe, in some way, because of the establishment’s embrace – Paolozzi had become a critically neglected figure, his many achievements as sculptor, designer and printmaker overlooked. Conceptual art and its later offshoots monopolised critical attention, while easy to appreciate painters such as David Hockney and Lucian Freud received the publicity and accolades.</span></i></span><br />
<span style="background-color: white; color: #666666; font-family: "verdana" , sans-serif;"><i><br /></i></span>
<span style="background-color: white;"><span style="color: #666666; font-family: "verdana" , sans-serif;">Overall, it's a good, thoughtful post with two of the prints as illustrations. Rick's comments about the accessibility of the work of, e.g., Hockney and Freud, ring true, though those are two artists whose work reflect much skill and patient craftsmanship. But think of all the other contemporary artists who attract the attention Eduardo currently does not, and compare the thinking and graphic expertise invested in his oeuvre with that deployed in, e.g., an Emin or Perry.</span></span><br />
<span style="background-color: white;"><span style="color: #666666; font-family: "verdana" , sans-serif;"><br /></span></span>
<span style="background-color: white;"><span style="color: #666666; font-family: "verdana" , sans-serif;">Patience is a great virtue, but after years of unfulfilled expectation, I do tire of waiting to see Eduardo's supreme virtuosity in printmaking fully recognised and celebrated beyond the realms of a little old blog like this. </span></span><br />
<span style="background-color: white;"><span style="color: #666666; font-family: "verdana" , sans-serif;"><br /></span></span>
<span style="background-color: white;"><span style="color: #666666; font-family: "verdana" , sans-serif;">Happy New Year!</span></span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-64354505671586606332016-11-21T07:39:00.000-08:002019-03-27T08:45:25.546-07:00The March of Time<span style="font-family: "times new roman";">
</span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Much
as I have tried (!) I have yet to find any of Eduardo’s sculpture or his
graphic work post-Seventies, as satisfying and attractive as the Sixties series
which are the main feature of this blog.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span><br />
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I
feel that Paolozzi himself had a similar view.<span style="mso-spacerun: yes;">
</span>Like most significant artists, he constantly sought to develop his
artistic practice and find new forms of expression/technique.<span style="mso-spacerun: yes;"> </span>But, I believe his thinking naturally strayed
back to the heady days of <i style="mso-bidi-font-style: normal;">As Is When</i>,
<i style="mso-bidi-font-style: normal;">UEV</i>, etc, from time to time, and this
guided his eye and hand.<span style="mso-spacerun: yes;"> </span>As examples,
look at these two prints:</span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-jcTBj7kGwmA/WDMUPAZ1n2I/AAAAAAAABEw/iim8mtulB9gO9z8TnApPmGpxD1aG3gD2QCLcB/s1600/Bluprints%2BBest.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-jcTBj7kGwmA/WDMUPAZ1n2I/AAAAAAAABEw/iim8mtulB9gO9z8TnApPmGpxD1aG3gD2QCLcB/s320/Bluprints%2BBest.jpg" width="237" /></a> </div>
<div class="separator" style="clear: both; text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">Blueprints for a New Museum</span></i><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">, 1980</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><o:p> </o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The
imagery and subject matter are familiar from the Sixties work.<span style="mso-spacerun: yes;"> </span>However, the representational images here do
not function quite so well in juxtaposition as in the older work without the abstract
pattern use, which somehow both unified the overall image and also defined
sub-fields.<span style="mso-spacerun: yes;"> </span>But, as so often in the
Fifties and Sixties, I sense that Eduardo’s <i style="mso-bidi-font-style: normal;">Science
Fiction</i> head was well and truly on and connected.<span style="mso-spacerun: yes;"> </span>And yet some of the objects which would have
been fantasies for the future not so long before, had become by 1980, relics to
display as if ancient, in a museum.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">From
1998, nearing the end of his life, comes this lithograph, very much in the
style of the early Sixties prints and sculpture:</span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-FSGH-KfQ8e4/WDMURova_eI/AAAAAAAABE0/zT2ewaJRPrYB8t0T1fA1dQx1lf_3ETF3gCEw/s1600/September.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-FSGH-KfQ8e4/WDMURova_eI/AAAAAAAABE0/zT2ewaJRPrYB8t0T1fA1dQx1lf_3ETF3gCEw/s320/September.png" width="218" /></a></div>
<div align="center" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: center;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">September </span></i><span style="font-family: "verdana" , sans-serif; font-size: 10pt;">1998</span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><o:p> </o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Colour
use and form are to me classic Paolozzi, and all the better for that!<o:p></o:p></span></span></span></div>
<span style="font-family: "times new roman";">
</span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-31517246901605166832016-09-22T07:14:00.001-07:002019-03-27T08:45:24.980-07:00For an aesthetic tea-time<span style="font-family: "times new roman";">
</span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">As
previously noted, Paolozzi often derived pattern from prosaic sources, for
example the chequers on the <em>Abba Zaba</em> wrapper.<span style="mso-spacerun: yes;">
</span>I could easily imagine his finding a pattern that inspired him on items
of every-day crockery.<span style="mso-spacerun: yes;"> </span>So it’s pleasing
that <i style="mso-bidi-font-style: normal;">his</i> patterns have from time to
time found their way onto tableware.<span style="mso-spacerun: yes;"> </span>My
thoughts on this have been prompted by the availability recently on eBay of
this Rosenthal limited edition plate from 1984:</span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"></span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-GMuuEvZbdbs/V-PkVr5VvUI/AAAAAAAABEI/RabsYrfs5YoYRDufmUZGTcel3pClBHr1ACLcB/s1600/OrwellPlate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="313" src="https://1.bp.blogspot.com/-GMuuEvZbdbs/V-PkVr5VvUI/AAAAAAAABEI/RabsYrfs5YoYRDufmUZGTcel3pClBHr1ACLcB/s320/OrwellPlate.jpg" width="320" /></a></div>
<div style="text-align: center;">
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o:title="OrwellPlate"/>
</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><span style="font-size: x-small;">Courtesy of
sconejamcream</span></span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><o:p> </o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Possibly
an appropriate plate on which to serve Mr Corbyn a smoked salmon and lobster on
hand-made, organic, artisan wholegrain, sandwich?</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">More
recently Royal Doulton offered a terrific range of crockery featuring pure
Paolozzi pattern in sumptuous saturated colours: </span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Gtl-zOpvjWE/V-PmxLN-whI/AAAAAAAABEM/9VMGpFFN8HsXlxOte_qKI5FOi4laZvefACLcB/s1600/Col2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://3.bp.blogspot.com/-Gtl-zOpvjWE/V-PmxLN-whI/AAAAAAAABEM/9VMGpFFN8HsXlxOte_qKI5FOi4laZvefACLcB/s320/Col2.jpg" width="320" /></a></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: center;">
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o:spid="_x0000_i1025" type="#_x0000_t75" style='width:237.75pt;height:197.25pt;
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o:title=""/>
</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">Courtesy of Royal
Doulton</span></span></span><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><o:p> </o:p></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I
have some of this and it looks good as well as being nicely made.<span style="mso-spacerun: yes;"> </span>Items from residual stocks are still
available, for example from China Chaps: </span><a href="https://www.chinachaps.co.uk/index.php?filter=true&brand=0&category=0&type=0&colour=0&product_size=0&limit_start=0&limit=36&order=product_type.asc&order_dir=asc&keyword=Paolozzi"><span style="color: #0563c1; font-family: "verdana" , sans-serif;">https://www.chinachaps.co.uk/index.php?filter=true&brand=0&category=0&type=0&colour=0&product_size=0&limit_start=0&limit=36&order=product_type.asc&order_dir=asc&keyword=Paolozzi</span></a><span style="font-family: "verdana" , sans-serif;">
<o:p></o:p></span></span></div>
<span style="font-family: "times new roman";">
</span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-41166335604598023522016-07-11T05:30:00.000-07:002019-03-27T08:45:25.153-07:00Cloud Atomic Laboratory<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "verdana" , sans-serif;"><em><span style="font-size: medium;">The schism that separates Space Age Engineering, technical photography, film making and types of street art from fine art activities is for many people/artists unbridgeable.<span style="mso-spacerun: yes;"> </span>Within the grand system of paradoxes, the theme of this portfolio is the Human Predicament.<span style="mso-spacerun: yes;"> </span>Content enlarged by precision.<span style="mso-spacerun: yes;"> </span>History shaded into the grey scale as in the television tube.</span></em><span style="text-align: center;"> </span></span></div>
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">
<span style="font-size: xx-small;"></span></span></span></span></span></span></span>
<br />
<div style="text-align: center;">
</div>
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">
</span></span></span></span></span></span></span>
<br />
<div align="center" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-JkYYPBLcxfU/V4OMcPeC5JI/AAAAAAAABCk/5Q-YDrb94UgHmEIf2PAUADFRwoEx6qULwCKgB/s1600/Skull%2Bof%2BTest%2BDummy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://4.bp.blogspot.com/-JkYYPBLcxfU/V4OMcPeC5JI/AAAAAAAABCk/5Q-YDrb94UgHmEIf2PAUADFRwoEx6qULwCKgB/s320/Skull%2Bof%2BTest%2BDummy.jpg" width="320" /></a></div>
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;"></span></span></span></span></span></span></span></div>
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><o:p><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span></span></span></span></span></span></o:p></span></span></span></span></span></span></span></span></span></span>
<br />
<div style="text-align: left;">
<div style="text-align: center;">
<span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">Skull of Test Dummy. Proton-Synchron Electrophysical Laboratory: Vacuum Pumps to the Electromagnet.</span></span></span></span></span></span></span></span></span></span></span></span></div>
<div style="text-align: center;">
<span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">©The Eduardo Paolozzi Foundation</span></span></span></span></span></span></span></span></span></span></span></span></div>
</div>
<span style="font-size: xx-small;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">
</span></span></span></span></span></span></span></span></span>
<div align="center" style="text-align: justify;">
</div>
<span style="font-size: xx-small;">
</span><br />
<div align="center" style="text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Ever since I first set eyes on one of his prints in 1965, (would have been one of the <i style="mso-bidi-font-style: normal;">As Is When</i> series), as well as revelling in their sheer visual splendour, I have wanted to understand the meaning of Paolozzi’s imagery and texts.<span style="mso-spacerun: yes;"> </span>This I have tried to analyse and explain throughout my writing on this blog.<span style="mso-spacerun: yes;"> </span>During the course of the Sixties the complexity of Paolozzi’s thinking and expression progressed, peaking with <i style="mso-bidi-font-style: normal;">Z.E.E.P.</i></span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: small;"></span><br /></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Then we come to <i style="mso-bidi-font-style: normal;">Cloud Atomic Laboratory.<span style="mso-spacerun: yes;"> </span></i>This is a series of eight etchings in an edition of 75.<span style="mso-spacerun: yes;"> </span>It was commissioned by British Olivetti and was printed at Alecto Studios in 1971.<span style="mso-spacerun: yes;"> </span>To my eye these are the least attractive images I have seen from Paolozzi.<span style="mso-spacerun: yes;"> </span>I’m missing the usual multiple juxtapositions, the incorporation of pattern and the sheer pleasure of rich colouration.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: small;"></span><br /></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Paolozzi suggested that these photographic images were a top skim of the huge number he had been collecting since 1952.<span style="mso-spacerun: yes;"> </span>Importantly, there was no modification of them beyond the rendering in a uniform, very bland photogravure-style printing.<span style="mso-spacerun: yes;"> </span>That the printing method was etching was the only cue – apart from knowledge of who was presenting them – to their being ‘artworks’.<span style="mso-spacerun: yes;"> </span>So really we are here concerned with the same Dada notion whereby Duchamp’s urinal became a piece of sculpture simply because it was installed in an art gallery.<span style="mso-spacerun: yes;"> </span>An important milestone in art ‘history’, but not really worth repeating some 54 years later.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: small;"></span><br /></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">I was prompted to write this post by the recent receipt of mailshot from GoldMark – this excellent gallery/on-line seller was offering a set of <i style="mso-bidi-font-style: normal;">Cloud Atomic Laboratory</i> prints at £1,200 each.<o:p></o:p></span></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: small;"></span><br /></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">So what have we got?<span style="mso-spacerun: yes;"> </span>It’s another cracking series title, hinting at sexy stuff like innovative, leading edge technology and space travel.<span style="mso-spacerun: yes;"> </span>(On the downside, I do sometimes muddle this series up with the previous year’s <i style="mso-bidi-font-style: normal;">Conditional Probability Machine.)<span style="mso-spacerun: yes;"> </span></i>It is also a further example of Paolozzi’s willingness to keep trying new approaches/media, despite having found great facility and success with screenprinting and lithography.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: small;"></span><br /></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Otherwise, we have a set of images which I find quite depressing.<span style="mso-spacerun: yes;"> </span>Some of this is due to their style being very similar to that of illustrations found in the outdated encyclopaedias which were prevalent in the Fifties – the very poor ‘equivalent’ then for an information-hungry kid of today’s Internet.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: small;"></span><br /></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: justify;">
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif; font-size: small;">I’m sorry to say that for me these prints do not achieve the ‘bridging’ function Paolozzi cited in explaining their creation in his Introduction reproduced at the top of this post.</span></span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt; text-align: center;">
</div>
<br />
<div style="text-align: center;">
<span style="font-family: "times new roman";">
</span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-3247830895977950572016-05-16T14:23:00.000-07:002019-03-27T08:45:25.022-07:00Upper Space<span style="font-family: "times new roman";">
</span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">A
very elegant installation of Paolozzi prints is currently to be seen at
Yorkshire Sculpture Park, (until 12<span style="font-size: small;"><sup>th</sup> June).</span></span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"></span></o:p></span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">An
excellent preview featured in <em>Wallpaper</em> - </span><a href="http://www.wallpaper.com/art/eduardo-paolozzi-politically-charged-printed-pop-art-works-at-yorkshire-sculptural-park#150944"><span style="color: #0563c1; font-family: "verdana" , sans-serif;">http://www.wallpaper.com/art/eduardo-paolozzi-politically-charged-printed-pop-art-works-at-yorkshire-sculptural-park#150944</span></a><span style="font-family: "verdana" , sans-serif;">
</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">See
how good the six <em>Z.E.E.P.</em> prints look side by side:</span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-eAhtE3QxAy4/Vzo5RONQJ1I/AAAAAAAAA_U/47PEHbJn41YaOs_FPP07EvDQU9WVRCxzgCLcB/s1600/eduardo-paolozzi-installation-view-2016_-courtesy-c-the-eduardo-paolo_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://2.bp.blogspot.com/-eAhtE3QxAy4/Vzo5RONQJ1I/AAAAAAAAA_U/47PEHbJn41YaOs_FPP07EvDQU9WVRCxzgCLcB/s400/eduardo-paolozzi-installation-view-2016_-courtesy-c-the-eduardo-paolo_1.jpg" width="400" /></a></div>
<div align="center" class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">Courtesy of the
Eduardo Paolozzi Foundation<o:p></o:p></span></span></span></div>
<span style="font-family: "times new roman";">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span><span style="font-family: "verdana" , sans-serif;">For
more information see - <a href="http://www.ysp.co.uk/exhibitions"><span style="color: #0563c1;">http://www.ysp.co.uk/exhibitions</span></a>
<o:p></o:p></span></span></div>
<span style="font-family: "times new roman";">
</span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-25949476828386572742016-04-29T07:47:00.000-07:002019-03-27T08:45:24.893-07:00Impossible Possibilities<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-10FOZRG0BaM/VyNy1dUa-oI/AAAAAAAAA-M/sVO9e4SQjaYVQUiYmmVEOwJl8w2_sDsjwCLcB/s1600/QUADRUM%2BDAX.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-10FOZRG0BaM/VyNy1dUa-oI/AAAAAAAAA-M/sVO9e4SQjaYVQUiYmmVEOwJl8w2_sDsjwCLcB/s320/QUADRUM%2BDAX.jpg" width="239" /></a><!--[if gte vml 1]><v:shapetype id="_x0000_t75"
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<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">This
is an intriguing stand-alone screenprint from 1973.<span style="mso-spacerun: yes;"> </span>Entitled ‘Quadrum Dax’, it was printed by
Kelpra in an edition of 100.<span style="mso-spacerun: yes;"> </span>Dimensions
are 86cms x 64cms.</span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
</div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I
see it as a very satisfying hybrid, recalling the mechanistic, painted
sculptures of the early Sixties, the pattern componentry of <i style="mso-bidi-font-style: normal;">As Is When</i> and <i style="mso-bidi-font-style: normal;">Universal Electronic Vacuum</i> and looking forward to the more ethereal
graphics style that would peak with Paolozzi’s prints of the late 70s.<span style="mso-spacerun: yes;"> </span>It is an exemplar of what Paolozzi was talking
about in his letter published in The Guardian, 6 March 1967:</span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
</div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt 36pt;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">By
employing engineering methods the iconography of the sculptor can be extended
far beyond the normal range of the traditionally trained and studio bound
artist and the high technical standards of industrial commercial process,
including screen printing, can provide a complexity and range of possibility
impossible by normal art-craft printing methods<span style="font-size: small;"><sup>1</sup>.</span></span></span></i><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">As
to colour, I regard it as a halfway house between the use of high contrast,
saturated hues – often of the primaries – in the Sixties’ print series and the
much more muted schemes of the <i style="mso-bidi-font-style: normal;">Kottbusserdam
Pictures and Turkish Music</i> series (1974), and <i style="mso-bidi-font-style: normal;">Calcium
Light Night</i> series (1974-6).<span style="mso-spacerun: yes;"> </span>The composition
anticipates the four-block structure of the woodcut series of 1975, <i style="mso-bidi-font-style: normal;">For</i> <i style="mso-bidi-font-style: normal;">Charles
Rennie Mackintosh</i>.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The
rendition of pattern and the geometry is much more clinical than in any other
Paolozzi print I have seen.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I
suspect that Paolozzi selected the title mainly on the basis of his liking for
the sound and/or look of quirky words and phrases.<span style="mso-spacerun: yes;"> </span>It is not a notable Latin expression.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Quadrum</i>
obviously refers to ‘four’ and <i style="mso-bidi-font-style: normal;">Dax </i>can
‘mean’ anything from a proper name to the German Stock Exchange.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The
print does not feature in the relatively comprehensive Tate on-line catalogue
and is missing from the lists in <i style="mso-bidi-font-style: normal;">Kelpra
Studio: The Rose and Chris Prater Gift. Artists’ Prints<span style="mso-spacerun: yes;"> </span>1961-1980</i>, unless it represents one of
untitled items, DP4886 or DP4887.</span></span></div>
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">______________________________________________________________<o:p></o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">1
The full text of this letter is reproduced in <i style="mso-bidi-font-style: normal;">Eduardo Paolozzi Writings and Interviews</i>, edited by Robin Spencer,
Oxford University Press, 2000<o:p></o:p></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-91893999556370324802016-03-31T11:51:00.000-07:002019-03-27T08:45:26.155-07:00Abba Zaba Doo (with apologies to Fred Flintstone)<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "verdana" , sans-serif;">Abba-Zaba</span></i><span style="font-family: "verdana" , sans-serif;"> is an ‘artist’s book’
created by Eduardo Paolozzi whilst he was a guest lecturer at Watford School of
Art in 1970.<span style="mso-spacerun: yes;"> </span>The content continues
themes from <i style="mso-bidi-font-style: normal;">Moonstrip</i>s and <i style="mso-bidi-font-style: normal;">General Dynamic F.U.N.</i></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><em></em></span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-oplUZCRm65E/Vv1uGZMX5aI/AAAAAAAAA3U/giQvD45zJ7AN7U-V43dZiX8JAR_cO0A3g/s1600/CoversCollage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://2.bp.blogspot.com/-oplUZCRm65E/Vv1uGZMX5aI/AAAAAAAAA3U/giQvD45zJ7AN7U-V43dZiX8JAR_cO0A3g/s400/CoversCollage.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: "verdana" , sans-serif; line-height: 107%;"><span style="font-family: "verdana" , sans-serif;">The
production method and cost constraints limited the image content to black and
white rendition.<span style="mso-spacerun: yes;"> </span>Here is a sample page:</span></span></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-jAq_QGHTHDA/Vv1upVcF8pI/AAAAAAAAA3Y/lLLXrdZrS9QaFAVX3f0zU2hytkIqeWt4w/s1600/Abba%2BZaba%2BPaolozzi_0008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-jAq_QGHTHDA/Vv1upVcF8pI/AAAAAAAAA3Y/lLLXrdZrS9QaFAVX3f0zU2hytkIqeWt4w/s200/Abba%2BZaba%2BPaolozzi_0008.jpg" width="144" /></a></div>
<br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">At
one level of interpretation, given the title, Paolozzi, tongue in cheek, was
perhaps presenting a compendium of texts and imagery which represented a neatly
distilled A-Z of the World, (all in the course just 70 pages.)<span style="mso-spacerun: yes;"> </span>In 1970 we were not yet nearing the brink of
the new world of information technology but I believe Paolozzi had considerable
foresight of this.<span style="mso-spacerun: yes;"> </span>With this he envisaged
the completely revised cultural situation in which we now live: a milieu abounding
with information, images, concepts, speculation, news, junk news, soap opera,
advertising, marketing, video, audio, virtual reality, noise, music, jingles, and
dissonance.<span style="mso-spacerun: yes;"> </span>This is a 24/7 world in
which it is increasingly more difficult to be all-knowing/expert as there is
just such a huge volume of data to be assimilated.<span style="mso-spacerun: yes;"> </span>And it is certainly impossible to ‘sum up’
fields of information neatly in the sort of reference works/encyclopaedias we
were still turning to in 1970.<span style="mso-spacerun: yes;"> </span>With the
inter-connectivity of information sources as well as the sheer volume of the
stuff, any single - or body of - representation of knowledge is likely to be
obsolete before you can re-transmit or print it.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">But
what is Abba-Zaba?<span style="mso-spacerun: yes;"> </span>It’s a brand of
Californian confectionery manufacturer, Annabelle Candy Company.<span style="mso-spacerun: yes;"> </span>The bar itself is chewy – like toffee – with a
peanut flavour centre.<span style="mso-spacerun: yes;"> </span>I don’t know if
Paolozzi liked the taste, but I’m sure he was very attracted by the packaging,
especially the chequer patterned wrapper – there is an echo here of the Cox’s gelatine
packet design that he used in the <em>As Is When</em> series, see - </span><a href="http://paolozzi.blogspot.co.uk/2014/06/tortured-life.html"><span style="color: #0563c1; font-family: "verdana" , sans-serif;">http://paolozzi.blogspot.co.uk/2014/06/tortured-life.html</span></a>
</span></div>
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</div>
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<a href="https://2.bp.blogspot.com/-oF0rgHJHVzQ/Vv1vGjpWDaI/AAAAAAAAA3g/oXrqgwOg4vQBprB_xlxFJeb5U1TekD-Ww/s1600/300px-Abba-Zaba-Wrapper-Small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://2.bp.blogspot.com/-oF0rgHJHVzQ/Vv1vGjpWDaI/AAAAAAAAA3g/oXrqgwOg4vQBprB_xlxFJeb5U1TekD-Ww/s1600/300px-Abba-Zaba-Wrapper-Small.jpg" /></a></div>
<span style="font-family: "verdana" , sans-serif;"></span><br />
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<br /></div>
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<o:p></o:p></span>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Abba-Zaba
also enjoys plenty of Paolozzi-friendly mass-media associations – name-checked
in tv shows, movies and rock music; with the latter for example, Capt Beefheart’s
LP, Safe as Milk was originally slated to be named Abba-Zaba.</span></span></span></div>
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</div>
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<span style="font-family: "times new roman";">
</span><span style="font-family: "verdana" , sans-serif; line-height: 107%;"><span style="font-family: "verdana" , sans-serif;">The book was published in a
limited edition of 500 and nowadays it regularly comes up for sale, recent examples
being offered for an average price of £195 – so it’s a very affordable way to
own a signed/numbered Paolozzi printed work.</span></span></div>
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</div>
</span><br />
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davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-76614978449393330772016-02-21T05:43:00.000-08:002019-03-27T08:45:25.941-07:0050 Years on and back in Albemarle Street<br />
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<span style="font-family: "verdana" , sans-serif; font-size: 8pt;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
I have been a fan of Paul Smith’s sumptuous ties and socks for years.<span style="mso-spacerun: yes;"> </span>Long ago I had a wonderful pair of stripy
socks, looking rather akin to a 425 line tv screen suffering from, (maybe alien-transmitted
from deep space), interference, which I referred to as my Eduardos.<span style="mso-spacerun: yes;"> </span>So I was especially pleased to find this
collaboration between the Designer and Emma Paolozzi:</span></span></span></div>
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</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-yjxUNWOVAQk/Vsm9zq9lAyI/AAAAAAAAA2Y/ELK1YiwZIz4/s1600/paolozzi-art-and-life.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://4.bp.blogspot.com/-yjxUNWOVAQk/Vsm9zq9lAyI/AAAAAAAAA2Y/ELK1YiwZIz4/s320/paolozzi-art-and-life.jpg" width="320" /></a></div>
<span style="font-family: "verdana" , sans-serif;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: 8pt;">Courtesy of Paul Smith<o:p></o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span>
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</div>
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</span>
<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The details of this can be seen at: </span><a href="http://www.paulsmith.co.uk/uk-en/shop/stories/eduardo-and-emma-paolozzi-at-9-albemarle-street"><span style="color: #0563c1; font-family: "verdana" , sans-serif;">http://www.paulsmith.co.uk/uk-en/shop/stories/eduardo-and-emma-paolozzi-at-9-albemarle-street</span></a><span style="font-family: "verdana" , sans-serif;"> </span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
<span style="font-family: "verdana" , sans-serif;"></span><br />
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I’m only sorry that I was unable to get to London for this event last October.<span style="mso-spacerun: yes;"> </span>It was at 9 Albemarle Street – I would have enjoyed the added nostalgia factor that this street was the location of the Editions Alecto gallery which I frequently visited in the Sixties.</span></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
<o:p>
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</div>
</o:p></span>davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-66876573607439564092016-02-07T06:14:00.000-08:002019-03-27T08:45:25.679-07:00The Subject is S.I.N.<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I
have always much preferred Paolozzi’s graphic work to the sculpture.<span style="mso-spacerun: yes;"> </span>It is true, however, that it is the latter
that has received the most general acclaim.<span style="mso-spacerun: yes;">
</span>And some of the oeuvre – the Tottenham Court Road mosaics, ‘Four Towers’
and ‘Hamlet in a Japanese Manner’ for example – straddles the media.</span></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: 10pt;"></span><br />
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<a href="https://4.bp.blogspot.com/-wqNCGP9GCxw/VrdQHVGll_I/AAAAAAAAA04/WV08E9N4Ea0/s1600/Hamlet.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://4.bp.blogspot.com/-wqNCGP9GCxw/VrdQHVGll_I/AAAAAAAAA04/WV08E9N4Ea0/s320/Hamlet.png" width="320" /></a></div>
<div style="text-align: center;">
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Japanese Manner Courtesy GoMA</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Of
the sculpture, some of the Sixties works appeal to me as they relate directly
to – and have the same ‘look’ as - the great prints, such as, ‘Wittgenstein at
Casino’.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Later
in his career, Paolozzi became very interested in Sir Isaac Newton and William
Blake’s monotype of him.<span style="mso-spacerun: yes;"> </span>In the various
versions Paolozzi succeeded in expressing the reality of human thinking,
whereby apparently contradictory notions can – indeed, HAVE – to be
accommodated.<span style="mso-spacerun: yes;"> </span>Blake, from a traditional
religious viewpoint disapproved of the Newtonian quest to scientifically
account for the world, (in the Wittgenstein sense), and rendered him as myopic,
whereas Paolozzi’s Isaac, in the version at the British Library in London, has Michelangelo’s
David’s all seeing eyes.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">But
I remain convinced that Eduardo should have stuck to printmaking – just look,
below, at what happened when he was in the role of the sculptor - a suit (!)
and . . . !</span></span></div>
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</div>
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<a href="https://3.bp.blogspot.com/-uCGNSIn2ikY/VrdQWHapjjI/AAAAAAAAA08/nCacB1ZDXkU/s1600/Ed%252BBlair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://3.bp.blogspot.com/-uCGNSIn2ikY/VrdQWHapjjI/AAAAAAAAA08/nCacB1ZDXkU/s320/Ed%252BBlair.jpg" width="320" /></a></div>
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Thurston<o:p></o:p></span></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-88545587102315140542016-01-24T15:27:00.000-08:002019-03-27T08:45:26.068-07:00Paolozzi Revealed<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I
have just finished reading Ann Shaw’s <i style="mso-bidi-font-style: normal;">Paolozzi
Revealed</i>.<span style="mso-spacerun: yes;"> </span>It’s an account of Paolozzi’s
10 day 1996 ‘masterclass’ in which 18 people participated.<span style="mso-spacerun: yes;"> </span>Ann herself seems to have ‘got’ Paolozzi
eventually, though there was clearly some animosity, especially because of an
incident on the last day when he gave her a verbal dressing down in front of
the class.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span><br />
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Ann’s
record of the ‘event’ has an ongoing theme wherein the ‘students’ feel
dissatisfaction with the lack of instruction/direction by Paolozzi.<span style="mso-spacerun: yes;"> </span>Coupled with his apparent lack of manners –
what we’d now call ‘interpersonal skills’ – the Artist is portrayed as
antipathetic, hostile even.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">It
is said that the most technically gifted footballers cannot be good coaches
because of a lack of patience: they just can’t understand why their pupils are
unable to perform with the brilliance they themselves do.<span style="mso-spacerun: yes;"> </span>And with Paolozzi you have a man who has
spent a lifetime building up ideas/concepts and repositories of objects and
imagery – component materials with which he is ready to work in novel and
refreshing ways at the drop of a hat.<span style="mso-spacerun: yes;">
</span>Little wonder that he was frustrated by a group of mature ‘students’ who
seemed to be wanting to be told ‘what to do’!</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Paolozzi
told the group that they would ‘learn’ by an osmosis-like process facilitated
by being in his company.<span style="mso-spacerun: yes;"> </span>That seems
entirely logical.<span style="mso-spacerun: yes;"> </span>All that is unfathomable
to me is why Paolozzi would have agreed to conduct the masterclass at all – I can’t
see what was in it for him.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Incidentally,
in response to Paolozzi’s suggestion that the class goes to the library to read
what’s been written about him, Ann says that he hadn’t written much
himself.<span style="mso-spacerun: yes;"> </span>That’s not so – for starters you’ll
be more than a day or two working your way through the book, <i style="mso-bidi-font-style: normal;">Eduardo Paolozzi: Writings and Interviews </i>edited
by Robin Spencer.<span style="mso-spacerun: yes;"> </span>This book alone will
tell you far more about Paolozzi than the recent monograph by Judith Collins which
Ann advocates: it is a disappointing book for its superficiality and absence of
fresh insight and interpretation of Paolozzi’s ideas and imagery.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNoSpacing" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Ann’s
account is fascinating and the photographs add immediacy.<span style="mso-spacerun: yes;"> </span>If you already ‘know’ Paolozzi you won’t
learn much you don’t already know, but it will add what used to be referred to
in painting classes at my Sixties Art Schools as ‘local colour!’.<o:p></o:p></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-69632815859344049422015-09-27T09:02:00.000-07:002019-03-27T08:45:25.809-07:00The Portfolio and Conclusion<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Just to round
things off, here is the portfolio box in which the Z.E.E.P. prints were
presented:<o:p></o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<span style="font-family: "verdana";"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-eGLvDtG-CPQ/VggSU-QJ4LI/AAAAAAAAAtE/1TwTqZMPOMA/s1600/Portfolio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-eGLvDtG-CPQ/VggSU-QJ4LI/AAAAAAAAAtE/1TwTqZMPOMA/s320/Portfolio.jpg" width="219" /></a></div>
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</div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">So that’s
it.<span style="mso-spacerun: yes;"> </span>In this blog I’ve covered all Paolozzi’s
significant print media work of the Sixties.<span style="mso-spacerun: yes;">
</span>I believe this has provided a view of a truly great artist at the peak
of his powers – innovating, experimenting, challenging his own creative
processes and the technical limits of the media.</span></span><span style="font-family: "verdana" , sans-serif;"><o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Paolozzi continued
to create prints through the succeeding decades, but, to my mind never again
with the success he achieved with his Sixties oeuvre.<span style="mso-spacerun: yes;"> </span>Fifty years on I believe the work is as fresh and
relevant as ever.<o:p></o:p></span></span></div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0tag:blogger.com,1999:blog-405358070803499750.post-5702029625285052782015-09-06T14:09:00.000-07:002019-03-27T08:45:25.460-07:00Human Fate and World Power<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Last of the
six prints in the Z.E.E.P. suite is <i style="mso-bidi-font-style: normal;">Human
Fate and World Power:</i></span></span></div>
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</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-ERhgruFqm-s/Veyp5AARxwI/AAAAAAAAAps/cdhb93uy6Uw/s1600/Human%2BFate%2Band%2BWorld%2BPower.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-ERhgruFqm-s/Veyp5AARxwI/AAAAAAAAAps/cdhb93uy6Uw/s320/Human%2BFate%2Band%2BWorld%2BPower.jpg" width="206" /></a></div>
<div align="center" class="MsoNormal" style="margin: 0cm 0cm 0pt;">
</div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">I find this
one very forward-looking.<span style="mso-spacerun: yes;"> </span>As the
twentieth century drew to its conclusion, society radically – and quickly -
changed, became fragmentary, as mass communications media and easily
facilitated transportation eroded mono-cultural societies.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">And notice
that in the blue background field two of the things – the car and the aeroplane
- that have hastened the fragmentation of human experience are themselves
rendered as fragments.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Symbolising
the ‘old’ model of the world, the Fitch vault key looks a bit pathetic – will such
simple technology continue to enable the safekeeping/security of people, ideas,
culture, information in the new world?<span style="mso-spacerun: yes;">
</span>Clearly not.<span style="mso-spacerun: yes;"> </span>Indeed by the twenty
first century we will have laws forcing authorities to release information that
previously was so closely guarded.</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
</div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;"><span style="color: #999999;">A parrot can
speak and imitate human vocalisation, but – like a computer – not know why it’s
doing it - <i style="mso-bidi-font-style: normal;">discuss</i></span>.</span></span></div>
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
</div>
<br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">More of the
day, rockets, submarines and fighter planes, (even comical ones), were
reasonable images to portray the currency required for world power – how different
today in the context of asymmetrical combat and the notion of ‘war on terror’.</span><span style="font-family: "verdana" , sans-serif;"><o:p> </o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif;">
</span><br />
<div class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">The Sixties
and the Seventies were decades when human fate did seem to rest on the
machinations of a ‘cold war’ between two world superpowers – the U.S. and the
U.S.S.R.<span style="mso-spacerun: yes;"> </span>Looking back they now appeal,
ironically, as settled times – it was basically a stalemate and a related
conflict, which would indeed decide the fate of the human race, was always
unlikely.<span style="mso-spacerun: yes;"> </span>How different today.<o:p></o:p></span></span></div>
<br />
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</div>
davy26http://www.blogger.com/profile/09375097810319534022noreply@blogger.com0