DOCSLIB.ORG

Pop in the Age of Boom: Richard Hamilton's 'Just What Is It That

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pop in the Age of Boom: Richard Hamilton's 'Just What Is It That Pop in the Age of Boom: Richard Hamilton’s ‘Just what is it that makes today’s homes so different, so appealing?’ by JOHN-PAUL STONARD MEASURING BARELY ONE FOOT square, Richard Hamilton’s fame, however, the immediate origins of Hamilton’s collage Just what is it that makes today’s homes so different, so appealing? have remained obscure. The new archival and source material is one of the most celebrated images in twentieth-century presented in this article sheds light on these origins, address- British art (Figs.14 and 15). It was created for the catalogue ing problems surrounding the authorship of the work. Newly and used for one of the posters for the exhibition This is identified sources for various parts of the collage allow for a Tomorrow held at the Whitechapel Art Gallery, London, dur- revised interpretation of its contents. ing August and September 1956. Collaged with images drawn The background of and preparations for the historic chiefly from American illustrated magazines, it has become exhibition This is Tomorrow are well known. In a context an emblem of the Age of Boom, the post-War consumer of enthusiasm for cross-disciplinary exhibitions of Con- culture of the late 1950s.1 It has also become a manifesto for structivist-inspired art and architecture,6 a group of young a movement. In one of the first accounts of British Pop art, artists, architects and critics met during early 1955 in the studio published in 1963, it was presented as a catalytic work, and the of the painter Adrian Heath and decided, after heated debate, next year was decreed ‘the first genuine work of Pop’.2 More on the basic format of their as yet untitled exhibition.7 Theo recently it has been compared with the Demoiselles d’Avignon, Crosby, who was at that moment the editor of Architectural has been hailed as ‘the starting point of planetary Pop Art’ and Design, headed the organisation committee. Eleven teams of as the ‘perfect Pop work’.3 John Russell’s description over three or four individuals were formed, each with the task of thirty years ago of the endless ‘pockets of meaning’ that can be constructing a display for the exhibition, which was to open on found in ‘this little picture’ remains true today.4 Above all, it 9th August the following year. Crosby approached Bryan was a startling prognosis of the use of comic books, tinned Robertson, the director of the Whitechapel Art Gallery, who food and burlesque nudes that formed the iconography of Pop agreed to host the exhibition. The budget was minimal and, art, and of the widespread use by artists of the metonymic as preparations got underway, it was decided that each team language of advertising. Such a mythic status is all the more would design and print a poster and contribute six pages to remarkable for an object not originally intended for display the catalogue (Fig.16). Each was also required to subsidise the but as a design for lithographic reproduction.5 Despite this materials for its displays. From the outset the intentions were For their help in the preparation of this article, I would like to thank Jo Baer, (20th October to 20th November 1964), to the American collector Ed Janss, Mary Banham, Stuart Blacklock (EMI Archive), Robert Cooper, Magda Cordell in 1964, for £320; London, Tate Gallery Archive (hereafter cited as TGA) McHale, Rita Donagh, Gerlinde Engelhardt (Kunsthalle Tübingen), Elisabeth Fair- 863/Hanover Gallery. The collage was to have been displayed in the exhibition Euro- man (Yale Center for British Art, New Haven), Tim Fogerty (Muscle Memory), pean drawings (Solomon R. Guggenheim Museum, New York, 1966), organised by Mark Francis, Adrian Glew (Tate Archive), Graphic Imaging Technology, Brook- Lawrence Alloway. Alloway had written to Hamilton asking for four drawings that lyn, New York, Richard Hamilton, Rod Hamilton, Dian Hanson, Martin Harrison, had been displayed in Hamilton’s 1964 Hanover Gallery exhibition, but rejected Richard Hollis, Randolphe Hoppe (Jack Kirby Museum), Harry Mendryk, John Hamilton’s subsequent suggestion that Just what is it . should be included; L. McHale Jr., Richard Morphet, Petra Cerne Oven (University of Reading Depart- Alloway to R. Hamilton, 26th July 1965, Richard Hamilton archive (cited hereafter ment of Typography), Randall Scott (Michigan State University Libraries), Posy as RHA). It was then displayed in the exhibitions Pop Art, London (Hayward Gallery) Simmonds, Candy Stobbs (Whitechapel Art Gallery), Aurélie Verdier and Anna 1969; Richard Hamilton, London (Tate Gallery), Eindhoven (Stedelijk van Abbe- Yandell. Particular thanks go to Richard Hamilton for permission to cite from letters museum) and Bern (Kunsthalle) 1970; and Richard Hamilton, New York (Solomon R. in his archive, and to the Gagosian Gallery, London. Guggenheim Museum) 1973. The collage was sold on 20th August 1974 to the 1 The phrase was first used in Queen, 15th September 1959. German collector Georg Zundel, and simultaneously became part of the collection 2 J. Reichardt: ‘Pop Art and After’, Art International 7, 2 (25th February 1963) of the Kunsthalle Tübingen. Thereafter, it was shown in the exhibitions: Richard pp.42–47, esp. p.43; M. Amaya: Pop as Art. A Survey of the New Super Realism, Hamilton Studies – Studien 1937–1977, Bielefeld (Kunsthalle), Tübingen (Kunsthalle) London 1965, p.32. and Göttingen (Kunstverein) 1978; Westkunst: zeitgenössische Kunst seit 1939, Cologne 3 W. Guadagnini: ‘Coincidences’, in M. Livingstone and W. Guadagnini, eds.: exh. (Messegelände, Rheinhallen) 1981; Modern dreams. The rise and fall of Pop, New York cat. Pop Art UK. British Pop Art 1956–1972, Modena (Palazzo Santa Margherita; (Clocktower Gallery) 1987; and High & low: modern art and popular culture, New York Palazzina dei Giardini) 2004, pp.37–41, esp. p.37. (Museum of Modern Art), Chicago (Art Institute) and Los Angeles (Museum of 4 J. Russell: ‘Introduction’, in exh. cat. Richard Hamilton, New York (Solomon R. Contemporary Art) 1990–91. A photograph taken by Hamilton at the time of the Guggenheim Museum) 1973, pp.10–11. 1987 Clocktower Gallery exhibition has been substituted for the original collage in a 5 The collage was first displayed as a work of art, while still in the collection of the number of subsequent exhibitions. artist, in the exhibition Nieuwe Realisten at the Gemeentemuseum, The Hague (24th 6 A. Fowler: ‘A forgotten British Constructivist group: the London branch of June to 30th August 1964), the catalogue to which included a reprint of Jasia Groupe Espace, 1953–59’, THE BURLINGTON MAGAZINE 148 (2007), pp.173–79. Reichardt’s essay, cited at note 2 above, and a large reproduction. It was to a certain 7 D. Robbins, ed.: exh. cat. The Independent Group: Postwar Britain and the Aesthetics extent owing to the enthusiasm of the curator and writer Walter Hopps that the of Plenty, Hanover (Hood Museum of Art), London (ICA), Los Angeles (Museum collage acquired an independent life: he possessed a colour slide of the work which of Contemporary Art) and Berkeley (University Art Museum) 1990–91, pp.30 and he used in lectures in the late 1950s, and it was through his agency that the work was 135–36. sold, on the occasion of Hamilton’s exhibition at the Hanover Gallery, London the burlington magazine • cxlix • september 2007 607 POP IN THE AGE OF BOOM POP IN THE AGE OF BOOM vague – an exhibition of the most forward-looking tendencies, engaging directly with the contemporary world. Although this impulse arose in part from the dynamic think-tank atmosphere of the Independent Group at the Institute of Contemporary Arts, the exhibition was for the most part defined by contem- porary British attitudes to Constructivism. Both constituents were founded on ideas that enabled cross-disciplinary discus- sion between architects, artists and philosophers. Among the eleven teams, Group Two comprised the architect John Voelcker and the Independent Group mem- bers John McHale and Richard Hamilton. Also important for Group Two’s contribution were Terry Hamilton (Hamilton’s wife), the Hungarian painter Magda Cordell and her husband, Frank Cordell, a musical director at EMI. Anne Massey has recounted how the Cordells, McHale and Lawrence Alloway formed a caucus within the Independent Group.8 Although Voelcker played an important role, the combined interests of McHale and Hamilton largely determined Group Two’s contribution. McHale and Alloway had taken over con- venorship of the Independent Group towards the end of 1954 and reoriented its discussions towards American popular culture, advertising, Hollywood cinema and science fiction.9 Members gave talks on their particular interests, including an influential address by Reyner Banham on car styling.10 Hamilton’s contribution dealt with American domestic appli- ances: ‘I was fascinated by “white goods” as they were called, washing machines and dishwashers and refrigerators – not 16. ‘12 Posters for This is Tomorrow’, reproduced in Architectural Design (September simply as objects in themselves as designed objects, but also in 1956), p.304. Included are the posters designed by John McHale (top row, second the ways in which they were presented to the audience’.11 from left) and Richard Hamilton (top row, third from left) for Group Two. Eduardo Paolozzi’s use of advertising images from American magazines was formative and fed into a general and collabo- discussions, McHale left for a period of study at the Yale rative interest in such material. ‘Tear sheets’ of advertising School of Fine Art, New Haven, returning only at the end of 14. Just what is it that makes images were passed around, and ‘tackboards’ of assorted adver- May 1956. ‘We could only correspond by letter’, Hamilton today’s home so different, so 12 appealing?, by Richard tising imagery were common in artists’ studios and homes.
Load more

Recommended publications
  • The Making of the Sainsbury Centre the Making of the Sainsbury Centre
    The Making of the Sainsbury Centre The Making of the Sainsbury Centre Edited by Jane Pavitt and Abraham Thomas 2 This publication accompanies the exhibition: Unless otherwise stated, all dates of built projects SUPERSTRUCTURES: The New Architecture refer to their date of completion. 1960–1990 Sainsbury Centre for Visual Arts Building credits run in the order of architect followed 24 March–2 September 2018 by structural engineer. First published in Great Britain by Sainsbury Centre for Visual Arts Norwich Research Park University of East Anglia Norwich, NR4 7TJ scva.ac.uk © Sainsbury Centre for Visual Arts, University of East Anglia, 2018 The moral rights of the authors have been asserted. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher. British Library Cataloguing-in-Publication Data. A catalogue record is available from the British Library. ISBN 978 0946 009732 Exhibition Curators: Jane Pavitt and Abraham Thomas Book Design: Johnson Design Book Project Editor: Rachel Giles Project Curator: Monserrat Pis Marcos Printed and bound in the UK by Pureprint Group First edition 10 9 8 7 6 5 4 3 2 1 Superstructure The Making of the Sainsbury Centre for Visual Arts Contents Foreword David Sainsbury 9 Superstructures: The New Architecture 1960–1990 12 Jane Pavitt and Abraham Thomas Introduction 13 The making of the Sainsbury Centre 16 The idea of High Tech 20 Three early projects 21 The engineering tradition 24 Technology transfer and the ‘Kit of Parts’ 32 Utopias and megastructures 39 The corporate ideal 46 Conclusion 50 Side-slipping the Seventies Jonathan Glancey 57 Under Construction: Building the Sainsbury Centre 72 Bibliography 110 Acknowledgements 111 Photographic credits 112 6 Fo reword David Sainsbury Opposite.
    [Show full text]
  • Copyright 2013 Shawn Patrick Gilmore
    Copyright 2013 Shawn Patrick Gilmore THE INVENTION OF THE GRAPHIC NOVEL: UNDERGROUND COMIX AND CORPORATE AESTHETICS BY SHAWN PATRICK GILMORE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Cary Nelson Associate Professor James Hansen Associate Professor Stephanie Foote ii Abstract This dissertation explores what I term the invention of the graphic novel, or more specifically, the process by which stories told in comics (or graphic narratives) form became longer, more complex, concerned with deeper themes and symbolism, and formally more coherent, ultimately requiring a new publication format, which came to be known as the graphic novel. This format was invented in fits and starts throughout the twentieth century, and I argue throughout this dissertation that only by examining the nuances of the publishing history of twentieth-century comics can we fully understand the process by which the graphic novel emerged. In particular, I show that previous studies of the history of comics tend to focus on one of two broad genealogies: 1) corporate, commercially-oriented, typically superhero-focused comic books, produced by teams of artists; 2) individually-produced, counter-cultural, typically autobiographical underground comix and their subsequent progeny. In this dissertation, I bring these two genealogies together, demonstrating that we can only truly understand the evolution of comics toward the graphic novel format by considering the movement of artists between these two camps and the works that they produced along the way.
    [Show full text]
  • Bruegel Notes Writing of the Novel Began October 20, 1998
    Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February,
    [Show full text]
  • On the First Pop Age
    hal foster ON THE FIRST POP AGE n epic poem of early Pop by the architects Alison and Peter Smithson, in an essay published in November 1956, Athree months after the landmark Independent Group exhibition ‘This is Tomorrow’ opens at the Whitechapel Gallery: ‘Gropius wrote a book on grain silos, Le Corbusier one on aeroplanes, and Charlotte Perriand brought a new object to the office every morning; but today we collect ads.’ Forget that Gropius, Corbusier and Perriand were also media-savvy; the point is polemical: they, the protagonists of modernist design, were cued by functional structures, vehicles, things, but we, the celebrants of Pop culture, look to ‘the throw- away object and the pop-package’ for our models. This is done partly in delight, the Smithsons suggest, and partly in desperation: ‘Today we are being edged out of our traditional role by the new phenomenon of the popular arts—advertising . We must somehow get the measure of this intervention if we are to match its powerful and exciting impulses with our own.’1 Others in the IG, Reyner Banham and Richard Hamilton above all, share this urgency. 1 Who are the prophets of this epic shift? The first we to ‘collect ads’ is Eduardo Paolozzi, who calls the collages made from his collection ‘Bunk’ (an ambivalent homage to Henry Ford?). Although this ‘pinboard aesthetic’ is also practised by Nigel Henderson, William Turnbull and John McHale, it is Paolozzi who, one night in April 1952, projects his ads, maga zine clippings, postcards and diagrams at the Institute of Contemporary Arts, in a demonstration that underwrites the distinctive method of the IG, an anti-hierarchical juxtaposition of archival images disparate, connected, or both at once.
    [Show full text]
  • Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
    Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr.
    [Show full text]
  • Play and No Work? a 'Ludistory' of the Curatorial As Transitional Object at the Early
    All Play and No Work? A ‘Ludistory’ of the Curatorial as Transitional Object at the Early ICA Ben Cranfield Tate Papers no.22 Using the idea of play to animate fragments from the archive of the Institute of Contemporary Arts, this paper draws upon notions of ‘ludistory’ and the ‘transitional object’ to argue that play is not just the opposite of adult work, but may instead be understood as a radical act of contemporary and contingent searching. It is impossible to examine changes in culture and its meaning in the post-war period without encountering the idea of play as an ideal mode and level of experience. From the publication in English of historian Johan Huizinga’s Homo Ludens in 1949 to the appearance of writer Richard Neville’s Play Power in 1970, play was used to signify an enduring and repressed part of human life that had the power to unite and oppose, nurture and destroy in equal measure.1 Play, as related by Huizinga to freedom, non- instrumentality and irrationality, resonated with the surrealist roots of the Institute of Contemporary Arts (ICA) in London and its attendant interest in the pre-conscious and unconscious.2 Although Huizinga and Neville did not believe play to be the exclusive preserve of childhood, a concern for child development and for the role of play in childhood grew in the post-war period. As historian Roy Kozlovsky has argued, the idea of play as an intrinsic and vital part of child development and as something that could be enhanced through policy making was enshrined within the 1959 Declaration of the
    [Show full text]
  • Dead Zone Back to the Beach I Scored! the 250 Greatest
    Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ ��������������������������
    [Show full text]
  • Architectural Theory Review Reyner Banham
    This article was downloaded by: [Langevin, Jared] On: 29 April 2011 Access details: Access Details: [subscription number 937057469] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Architectural Theory Review Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t781137234 Reyner Banham Jared Langevin Online publication date: 29 April 2011 To cite this Article Langevin, Jared(2011) 'Reyner Banham', Architectural Theory Review, 16: 1, 2 — 21 To link to this Article: DOI: 10.1080/13264826.2011.560389 URL: http://dx.doi.org/10.1080/13264826.2011.560389 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly
    [Show full text]
  • LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959
    LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959 In the annals of art history, and within canonical accounts of the Independent Group (IG), Lawrence Alloway's importance as a writer and art critic is generally attributed to two achievements: his role in identifying the emergence of pop art and his conceptualization of and advocacy for cultural pluralism under the banner of a "popular-art-fine-art continuum:' While the phrase "cultural continuum" first appeared in print in 1955 in an article by Alloway's close friend and collaborator the artist John McHale, Alloway himself had introduced it the year before during a lecture called "The Human Image" in one of the IG's sessions titled ''.Aesthetic Problems of Contemporary Art:' 1 Using Francis Bacon's synthesis of imagery from both fine art and pop art (by which Alloway meant popular culture) sources as evidence that a "fine art-popular art continuum now eXists;' Alloway continued to develop and refine his thinking about the nature and condition of this continuum in three subsequent teXts: "The Arts and the Mass Media" (1958), "The Long Front of Culture" (1959), and "Notes on Abstract Art and the Mass Media" (1960). In 1957, in a professionally early and strikingly confident account of his own aesthetic interests and motivations, Alloway highlighted two particular factors that led to the overlapping of his "consumption of popular art (industrialized, mass produced)" with his "consumption of fine art (unique, luXurious):' 3 First, for people of his generation who grew up interested in the visual arts, popular forms of mass media (newspapers, magazines, cinema, television) were part of everyday living rather than something eXceptional.
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Alter Ego #78 Trial Cover
    THE PROFESSIONAL “HOW-TO” MAGAZINE ON COMICS #19 AND CARTOONING FALL 2010 $7.95 In The US WRITEWRITE NOW’s NOW’s SUPERSTAR ARTIST DANNY FINGEROTH DOUG SPOTLIGHTS DOUG WRITER/ARTIST BRAITHWAITE R.. SIKORYAK INTERVIEW & DEMO ROUGH STUFF’s BOB McLEOD CRITIQUES AA NEWCOMER’S WORK Thing, Hulk TM & ©2010 Marvel Characters, Inc. 2 0 2 4 PLUS: 6 7 MIKE MANLEY 7 & BRET BLEVINS’ 2 8 5 6 2 8 1 DRAW! (edited by top comics artist MIKE MANLEY) is the professional “HOW-TO” magazine on comics, cartooning, and animation. Each issue features in-depth INTERVIEWS and DEMOS from top pros on all aspects of graphic storytelling. NOTE: Contains DRAW! #4 DRAW! #5 DRAW! #6 DRAW! #8 nudity for Features an interview and step-by-step Interview and sketchbook by MIKE Interview, cover, and demo with BILL WRAY, From comics to video games: an interview, demonstration from Savage Dragon’s ERIK WIERINGO, BRIAN BENDIS and MIKE STEPHEN DeSTEFANO interview and cover, and demo with MATT HALEY, TOM purposes of LARSEN, KEVIN NOWLAN on drawing OEMING show how they create the series demo on cartooning and animation, BRET BANCROFT & ROB CORLEY on character figure and inking techniques, DAVE COOPER “Powers”, BRET BLEVINS shows “How to BLEVINS shows “How to draw the human design, “Drawing In Adobe Illustrator” drawing. demonstrates coloring techniques in draw great hands”, “The illusion of depth figure in light and shadow,” a step-by-step step-by-step demo by ALBERTO RUIZ, INTENDED Photoshop, BRET BLEVINS tutorial on in design” by PAUL RIVOCHE, must-have Photo-shop tutorial by CELIA CALLE, expert “Draping The Human Figure” by BRET Figure Composition, PAUL RIVOCHE on art books reviewed by TERRY BEATTY, plus inking tips by MIKE MANLEY, plus reviews BLEVINS, a new COMICS SECTION, FOR the Design Process, reviews of comics reviews of the best art supplies, links, a of the best art supplies, links, a color International Spotlight on JOSÉ LOUIS MATURE drawing papers, and more! color section and more! OEMING cover! section and more! AGREDA, a color section and more! READERS.
    [Show full text]
  • Arch222 New Brutalism Ersan Ilktan Yagmur
    ARCH222 HISTORY OF ARCHITECTURE II : Reyner Banham “The New Brutalism” 1966 Yağmur Bektaş- Ersan Ilktan Peter Reyner Banham, (born March 2, 1922, Norwich, England—died March 19, 1988, London, England), British architectural critic, historian and writer, known for his books Theory and Design in the First Machine Age (1960), Los Angeles: The Architecture of Four Ecologies (1971) and The New Brutalism, Architectural Press, (1966). ARCH222 HISTORY OF ARCHITECTURE REYNER BANHAM/ THE NEW BRUTALISM 1966 Peter Reyner Banham, (born March 2, 1922, Norwich, England—died March 19, 1988, London, England), British architectural critic, historian and writer, known for his books Theory and Design in the First Machine Age (1960), Los Angeles: The Architecture of Four Ecologies (1971) and The New Brutalism, Architectural Press, (1966). Banham saw much of the second world war when he was educated in the Norwich school. In Norwich he started writing reviews or the local paper and in 1949 he began to work in the Caurtauld Institute of Art, supervised by Nikolaus Pevsner. Later, Banham becomes a member of the Independent Group (IG), by the influence of the Smithson’s and the art exhibition “parallel of life and art” (1953), he publishes his book The New Brutalism in 1966. REYNER BANHAM 1 ARCH222 HISTORY OF ARCHITECTURE REYNER BANHAM/ THE NEW BRUTALISM 1966 Nikolaus Pevsner With the lead of Pevsner, Banham started studying the history of modern architecture, starting with Pevsner’s work Pioneers of the Modern Movement (1936). This book is important in terms of arranging a progress of “modern design” from William Morris, arts and crafts movement, to Walter Groupies and Bauhaus.
    [Show full text]