The 'Bunk' Collages of Eduardo Paolozzi

The ‘Bunk’ collages of Eduardo Paolozzi by JOHN-PAUL STONARD

EDUARDO PAOLOZZI ’S SERIES of forty-five Bunk collages, made by the artist in Paris and London from around 1947 to 1952, are often considered as prototypical works of Pop art. Evadne in green dimension (Fig.22), from which the series derives its title, is typical in its presentation of consumer goods, sex symbols and richly toned food advertisements, all cut from American magazines and combined in a dynamic composition. In contrast to other collages made by Paolozzi around the same time, which refer back to a pre-War Surrealist aesthetic, particularly that of Kurt Schwitters or of Max Ernst, the Bunk collages form a different category, using up-to-date colour magazine and advertising imagery, and presenting this material in a direct, non-pictorial format. However, many of the works in the series are characterised by the crudeness with which the source material has been cut and pasted down, incorporating yellowing strips of Sellotape and affixed to sheets of card that appear recycled from previous collages (Figs.23 and 24). This makeshift quality raises the question of whether the collages were intended as works of art for display or whether they were private work - ing material, along the lines of those collages found in the numerous scrapbooks kept by Paolozzi during the same period. Several of the series are not really collages, but single ‘tearsheets’ pasted down (Figs.25 and 26). The various loca - tions in which the Bunk collages can be found further enhance the ambiguity of their material status. Where some are kept as works of art in a museum store (Tate, London), others are held in Prints and Drawings collections (Victoria and Albert Museum, London; Scottish National Gallery of Modern Art, Edinburgh) and still others are stored as archival material (Art and Design Archive, Victoria and Albert Museum). Aside from several works held in private collections, the location of 22. Evadne in green dimension , by Eduardo Paolozzi. 1952. Collage, 33.1 by 25.4 cm. about fifteen of the collages remains so far unidentified (it (Victoria and Albert Museum, London). must be assumed) within Paolozzi’s personal archive. 1 It is at least in part due to this fugitive status that a certain amount of myth has gathered around the Bunk series, not least concern - reference than the American magazines that became so attrac - ing their prophetic stature. New research, presented in this tive to Pop artists around the mid-1950s. article, examines the construction of this myth, particularly Paolozzi’s interest in collaging popular material stretched in the light of Paolozzi’s retrospective at the Tate Gallery in back to his childhood in Scotland, and has been well sum - 1971, and the print series that was made from the collages marised by Robin Spencer. 2 The preservation of a childhood shortly thereafter. It is through this print series that the Bunk habit into his mid- to late twenties – a number of the pages collages are now commonly known, and most often displayed of the surviving scrapbooks contain drawings that may be and illustrated. In addition, some of the source material classified as juvenilia – and as a student at the Slade School of used in the collages is examined, revealing a broader field of Fine Art when it was evacuated to Oxford during the War

The author wishes to thank for their help in the preparation of this article Daniel 3 An exhibition two years after Paolozzi’s death of hitherto unpublished erotic col - Herrmann, James Hyman, Richard Lannoy, Raymond Mason, James Mayor, lages is some indication of the only gradually emerging knowledge of these ‘private’ Richard Morphet, Jennifer Ramkalawon, Jeffery Sherwin, Toby Treves, William works; see exh. cat. Eduardo Paolozzi: For Adults Only. A pornucopia of previously Turnbull, Aurélie Verdier and Frank Whitford. Particular thanks to Robin Spencer unknown erotic drawings/collages , London (Mayor Gallery) 2007. for his help and encouragement, and to Flowers Gallery, London. 4 Paolozzi’s dating of his collages is not always accurate, particularly in the case of 1 Following Paolozzi’s death in 2005, the contents of his studio in Dovehouse Street, the Bunk collages; see more on this question below. Chelsea, including his archives, were placed in storage and remain to be catalogued. 5 Identification from R. Spencer: Eduardo Paolozzi: Recurring Themes , New York 2 See R. Spencer: ‘Introduction’, in idem , ed.: Eduardo Paolozzi. Writings and Inter - 1984. views , Oxford 2000, pp.1–43, esp. pp.8–10. 6 It is collaged into S.P. Munsing, ed.: exh. cat. Kunstschaffen in Deutschland , held

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23. A new brand of brilliance , by 24. You can’t beat the Eduardo Paolozzi. real thing , by Eduardo 1972. Lithograph, Paolozzi. 1951. 29 by 41 cm. Collage, 35.7 by 24 (After 1947 cm. (Victoria and collage, where - Albert Museum, abouts unknown). London).

(1944–45) and afterwards in London (1945–47), may have method of writing with ‘found’ phrases, as described in his been one reason for Paolozzi’s sense of his collages as private book Comment j’ai écrit certains de mes livres (1935). The degree working material. 3 The collision of his scrapbook collage to which he benefited from contact with those such as Tzara aesthetic and his exposure to Surrealism, in part through the remains unclear. Nigel Henderson’s letters to his wife, Judith, agency of Nigel Henderson, whose mother, Wyn Henderson, written during a stay in Paris in 1948, reveal Paolozzi’s friend - ran the Guggenheim Jeune Gallery, London, resulted in such ships with artists to be a series of more or less surly conquests. 8 collages as Butterfly , dated by Paolozzi ‘1946’ (Fig.27). 4 This Henderson also describes both Paolozzi’s love of Paris and work comprises a page cut from a book (in this case Albert violent reaction ‘against anything “English”.’ 9 He recalls the Toft’s Modelling and Sculpture , first published in 1911), 5 which material deprivations of the time, describing how he managed has been disrupted with the collaged addition of a picture of a to procure drawing paper for Paolozzi and suggesting to combustion engine in a manner reminiscent of Max Ernst. Judith that it was better to bring art materials from England. One of Paolozzi’s most impressive and coherent scrapbooks, Although there are no records of the details of what he saw, the Psychological Atlas , dated 1949, carries the subtitle ‘Histoire there is little doubt that the principal influence on Paolozzi at Naturelle’, referring directly to Ernst’s print series of 1925, this time was what he later termed ‘the Surrealist investigation and comprises a series of ethnographically oriented images I engaged myself in. . .’. 10 Frank Whitford has recorded the that recall earlier Surrealist collage. 6 importance of Duchamp and of an exhibition of works by What we know of Paolozzi’s subsequent stay in Paris Max Ernst at Raymond Duncan’s gallery in Paris. 11 But there for two years from June 1947 is, largely by tradition, a story was a clear distinction between the private results of these recounting the vagaries of affinity and influence. He was in ‘Surrealist investigations’ and the ‘official’ work that Paolozzi contact with Giacometti and Dubuffet, and was also on was making at that moment. His status was emphatically that familiar terms with both Tristan Tzara and Mary Reynolds, of a sculptor (at least this is how Brancusi introduced him whose Duchamp collection he saw (in particular a large to Braque), 12 and those works on paper that he did produce collage of magazine images that Duchamp had apparently were distinct in appearance from the Bunk collages (Fig.28). made on a wall of Reynolds’s apartment which, unusually for They have been described as having ‘nothing whatever to Duchamp, has not been listed as part of the artist’s œuvre ). 7 He do with Surrealism and hark back to decorative Cubism and read Raymond Roussel and was influenced by Roussel’s to the papiers découpés of Matisse’. 13

at the Central Collecting Point, Munich, from 9th June to 19th July 1949. Archives (hereafter cited as TGA) 9211/1/1/9. The scrapbook is held in London, Krazy Kat Arkive (designated by Paolozzi to 9 Ibid. hold his collection of working material), Victoria and Albert Museum, 10 ‘Interview with Eduardo Paolozzi by Richard Hamilton’, Arts Yearbook 8 (1965), AAD/1985/3/6/7. reprinted in Spencer, op. cit . (note 2), pp.138–141, esp. p.139. 7 See, for example, U. Schneede: Eduardo Paolozzi , Cologne 1970. 11 F. Whitford: ‘Eduardo Paolozzi’, in idem , ed.: exh. cat. Eduardo Paolozzi , London 8 ‘A great moment of my stay so far was a visit with Ed. to Fernand Leger [ si c] at (Tate Gallery) 1971, pp.6–29, esp. p.10. Whitford’s text is based on a series of con - his studio. This is the sort of initiative of E’s that I admire without reservation. We versations with Paolozzi from January to June 1971. simply barged in – he led – I followed. Leger was most cordial & talked readily’. 12 Nigel Henderson to Judith Henderson, 3rd September 1947, TGA, 9211/1/1/10. Nigel Henderson to Judith Henderson, 28th August 1947; London, Tate Gallery 13 Whitford, op. cit . (note 11), p.10.

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25. It’s daring it’s audacious , by Eduardo Paolozzi. 26. Fantastic weapons contrived , by Eduardo Paolozzi. 27. Butterfly , by Eduardo Paolozzi. 1946. Collage. 1949. Collage, 32.5 by 24.5 cm. (Krazy Kat Arkive, 1972. Lithograph, 26 by 35 cm. (After 1952 collage, (Whereabouts unknown). Victoria and Albert Museum, London). whereabouts unknown).

It is often written that Paolozzi made collages from Ameri- del Renzio, to cater for the more avant-garde and intellectual can magazines that he was given by ex-GIs stationed in Paris. 14 members of the Institute. Paolozzi projected collaged images Although it is plausible – Paolozzi and his English compatri - and details from these images using an epidiascope for a fairly ots were very poor in comparison with American visitors – it large and select audience who had turned up for the inaugural seems unlikely that this was a regular arrangement. Paolozzi meeting. Although there are no contemporary records, in recalls that the ex-GI and painter Charlie Marks gave him a particular of the lecture being titled ‘Bunk’, a number of number of copies of the New York-based journal View , from published eyewitness accounts evoke the poignant atmosphere which he ‘reaped images to make collages’. 15 However, it is of the evening: ‘I remember the prints steaming and peeling, not apparent that any image from View was used in a collage and the heavy sighs of Eduardo, and the fairly sarcastic attacks made at this time or later, and certainly none was used in the of Reyner Banham’, Nigel Henderson told Dorothy Morland Bunk series. It is more likely that View would have been passed during an interview about the ICA. 17 In contrast to the intel - to him by Mary Reynolds who was the Paris representative lectual approach of Banham and others, including John of the magazine. In fact, the range of publications used McHale and Richard Hamilton, Paolozzi’s approach was for for the collages – individual cases are detailed below – suggests Henderson refreshingly instinctive: ‘What I thought uniquely a much broader pool of source material than American valuable in Eduardo’s contribution (though he was no mean magazines. Indeed, the majority of the collages were made in articulator, but used, I thought, to get a bit muddled in his London after his return in 1949, where such magazines terms) was sheer drive and virility, the gut reaction, which was were readily available and enthusiastically collected by others missing in the English scene’. This was the first presentation associated with the Independent Group. 16 of such material in an intellectual context, and was met with Even less is known about the first public presentation of the ‘disbelief and some hilarity’, as Paolozzi later recorded – Bunk collages at the inaugural meeting of the ‘Young Group’, although this may have been due solely to Banham, whose the precursor of the Independent Group, at the Institute of ‘chuckles’ became ‘open laughing’, to the annoyance of many Contemporary Arts in April 1952. This had been instigated by attendees. 18 According to Paolozzi, the Bunk images were Richard Lannoy and Dorothy Morland, with the help of Toni ‘among’ the material that was projected, and there is little

14 For instance R. Miles: exh. cat. The Complete Prints of Eduardo Paolozzi. Prints, Richard Lannoy; conversation with the present writer. drawings, collages 1944–77 , London (Victoria and Albert Museum) 1977, p.8. 19 Unsigned catalogue entry, The Tate Gallery 1970–72 (biannual report) , London 1972, 15 D. Robbins, ed.: The Independent Group: Postwar Britain and the Aesthetics of Plenty , p.165. Cambridge, MA, and London 1990, p.192. 20 It has been suggested that the exhibition Parallel of Life and Art , organised by 16 See J.P. Stonard: ‘Pop in the Age of Boom: Richard Hamilton’s “Just what is it Paolozzi, Nigel Henderson and Alison and Peter Smithson at the Institute of that makes today’s homes so different, so appealing?”’, THE BURLINGTON MAGAZINE Contemporary Arts, London, in late 1953, was a response to Paolozzi’s epidiascope 149 (2007), pp.607–20. lecture. But the material shown was of an entirely different order – scientific and 17 Transcript of Dorothy Morland’s interview with Nigel Henderson, 17th August anthropological, rather than popular advertising. 1976, TGA, 955/1/14/6; see also Robbins, op. cit . (note 15), pp.21 and 94. 21 M. Middleton: Eduardo Paolozzi , London 1963, unpaginated. 18 E. Paolozzi: ‘Eduardo Paolozzi, Retrospective Statement’, in Robbins, op. cit . 22 E. Paolozzi: The Metallization of a Dream , with a commentary by L. Alloway, (note 15), pp.192–93. Information on Reyner Banham’s dismissive reaction from London 1963.

240 april 2008 • cl • the burlington magazine THE ‘BUNK’ COLLAGES OF EDUARDO PAOLOZZI reason to assume that the series as it is now known was projected as a coherent whole at the 1952 lecture. 19 At least two of the collages (see Appendix, nos.2 and 38) had not yet been made, as the source material indicates. It is more plausible that Paolozzi took a selection of his collages and scrapbooks, choosing some of the more striking images, and that some of these later became enshrined in the Bunk series. What can be stated with some certainty is that Paolozzi’s presentation, although controversial, had little immediate effect. 20 Virtually all accounts of Paolozzi’s work published before 1971 omit any reference to the Bunk collages. Michael Middleton’s short monograph of 1962 identifies the importance of the collage technique, and of Paolozzi’s meetings with Tzara, Giacometti and Brancusi in Paris, and his exposure to Mary Reynolds’s Surrealist collection as well as his reading of Roussel – but these experiences are seen as informing his sculpture. 21 Middleton writes that Paolozzi’s ‘collage con - 28. Lotterie , by Eduardo Paolozzi. 1947. Collage. (Whereabouts unknown). ception’ culminated in the film History of Nothing completed the same year. Those collages reproduced in The Metallization of a Dream (1963), an examination of Paolozzi’s working of US Army aircraft insignia and a Disney cartoon page material with a commentary by Lawrence Alloway, were of entitled “Mother Goose Goes to Hollywood”, to a scene of the ‘abstract’ type (Fig.28). 22 Alloway’s text places Paolozzi New York Skyscrapers with a liner steaming up a background squarely in a humanistic tradition of expressive meaning: ‘Let river, a gorilla holding a swooning damsel, and a bumpy robot us consider Paolozzi as an example of the anthropomorphic pouring coffee for a scantily clad example of feminine imagination’. 23 Here there is clearly no place for Paolozzi as pulchritude’. 28 The year 1970 was important for the reception the critic or enthusiast of consumer culture and Americana. of Pop art in Britain. As Ben Highmore has recently noted Alloway illustrates and describes a collage sheet from 1954 with reference to Richard Hamilton, it was in that year that including images of Michelangelo’s David and a Churchman’s the ‘teleological story’ of Pop art was established: ‘the story cigarette card of Jack Johnson, a heavyweight boxer. Rather of how Richard Hamilton and other members of the Inde - than a collapsing of ‘high’ and ‘low’ categories, Alloway rec - pendent Group produced a prescient variety of pop art that ommends Paolozzi’s interest in ‘patterns of connectivity’: ‘It is would go on to become a fully fledged movement, paralleling the thickness of the world and of man’s artefacts in relation its US variant’. 29 If Hamilton, as Highmore suggests, was to man that nourishes Paolozzi’s imagination’. 24 The literalism established as the progenitor of Pop by his 1970 Tate Gallery of Pop imagery is irrelevant – ‘the objects are turned into retrospective, then it was at least in part as a response to this symbols’, Alloway concludes. 25 In his account of ‘The Devel - that the Tate retrospective of Paolozzi’s work just over one opment of British Pop’, published in 1966, Alloway describes year later similarly established his reputation. 30 This was the Paolozzi as an ‘important progenitor’ of Pop, but there is no first time the collages had been shown in public since the 1952 mention either of the Bunk collages or the 1952 lecture. 26 projection. 31 It is clear from Paolozzi’s printed annotations in It was not until 1970 that the Bunk collages resurfaced into the exhibition catalogue – dates and comments written next the consciousness both of the artist and his supporters. 27 Yet to reproductions of the Bunk collages – that he was concerned still the story emerged gradually; although Diane Kirkpatrick to establish their precedent in the swiftly emerging story of made what may be one of the first published references to the Pop. This point was not lost on close observers: Nigel Hen - ICA projection in her monograph on Paolozzi published that derson, in a letter to his mother, described the process in year, none of the collages was reproduced and the word rather caustic terms: ‘There is a big attempt, both in the ‘Bunk’ does not appear. Her description accords only in part exhib[ition] and in the catalogue to give him [Paolozzi] with the series: ‘The images ranging from a Swank man’s primogeniture in the “Pop” idiom and, without doubt, here jewellery advertisement from a 1938 magazine, through sheets my testimony is being solicited’. For Henderson this was

23 Ibid ., p.15. p.5, mentions the ICA projection briefly, but with no description of the contents 24 Ibid ., p.38. or reference to Bunk . He erroneously cites as a source Lawrence Alloway’s 25 Ibid ., p.59. ‘The Development of British Pop’ (see note 26), but the essay has no mention of 26 L. Alloway: ‘The Development of British Pop’, in L.R. Lippard, ed.: Pop Art, the collage projection. London 1966 , pp.27–68, esp. p.28. 29 B. Highmore: ‘Richard Hamilton at the Ideal Home Exhibition of 1958’, Art 27 Not one of the Bunk images was shown at the 1965 exhibition of Paolozzi’s work History 30, 5 (2007), pp. 712–37, esp. p.718. at the Hatton Gallery, Newcastle upon Tyne, although it included a selection of 30 The Hamilton retrospective ran from 12th March to 19th April 1970, Paolozzi’s drawings and collages from 1944: see exh. cat. Eduardo Paolozzi. Recent Sculpture, from 22nd September to 31st October 1971; see also the pioneering account in Drawings and Collages , Newcastle upon Tyne (Hatton Gallery) 1965. More signifi - A. Massey: The Independent Group. Modernism and Mass Culture in Britain 1945–59 , cant was the omission of the collages from the exhibition Pop Art Redefined , London Manchester and New York 1995, pp.119–20. (Hayward Gallery) 1969. 31 Installation photographs in TGA show that all the collages were icluded in the 28 D. Kirkpatrick: Eduardo Paolozzi , London 1970, p.84. Schneede, op. cit . (note 7), exhiition.

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‘Parish Pump Politics’, an ironic after-the-fact bestowal of sta - tus. Noting that Stuart Davis and Fernand Léger may equally be considered as forerunners of Pop, Henderson continues: . . . I would give Hamilton priority over EP, probably on the grounds that the former traded under the sign of Pop long before the latter who was so busy trying to satisfy, flatter and please all & sundry (including himself) and, lack - ing (at that time, anyway) any revolutionary identification, failed to see the possibilities of Pop as a graphic weapon of social change. I think he now sees it and regrets it and would like to falsify the record: for at the Tate he showed lots of things torn from notebooks or portfolios (some of which I can remember) of early date and which, though diminutive, look authentic Pop by virtue of the idiom which others have pioneered & some taken risks for. But the point is that Paolozzi didn’t show these naughty, mocking irreverent documents, didn’t take the risk of offending those in high places which part of his Italian heritage makes him flatter 29. I was a 32 rich man’s and seek – for reasons of personal prestige and gain. plaything , by Eduardo Henderson’s comments are in some respects unfair – Paolozzi Paolozzi. did show his collages (in 1952, and also his scrapbooks two 1947. years later at the ICA exhibition Collages and Objects ), and his Collage, 35.9 reluctance to develop the highly original use of popular adver - by 23.8 cm. (Tate, tising material was due at least in part to the negative response London). to his bold ICA epidiascope projection. But it is also indisput- able that Paolozzi wanted to establish his ‘primogeniture’ in a manner that placed a heavy burden on hindsight. One of the 30. Fun more well-known collages from the series, I was a rich man’s helped them fight , by plaything (Fig.29), was annotated by Paolozzi in the Tate cata - Eduardo logue with ‘ The First Use of Pop? Collage, 1947’. 33 There is Paolozzi. no guarantee that the collage was indeed made at this early 1947 [1948]. Collage, 25.6 date, and even so, the use of the word ‘Pop’ (taken, as Paolozzi by 17.6 cm. later recalled, from the packet of a toy gun) was fortuitous, and (Victoria and was by no means understood at this time as it was from the Albert Museum, mid-1950s by those associated with the Independent Group. London). Paolozzi may nevertheless have considered the Tate retrospective as something of a missed opportunity. In the introductory text to the print portfolio Cloud Atomic Labora- tory (1971), also shown in the Tate exhibition of that year, Paolozzi complains that the ‘radical nature of this lecture [the 1952 projection] has never properly been assessed but is nevertheless homogeneous with the current paintings and sculptures’. 34 Although the Tate retrospective catalogue mentions the epidiascope projection as part of a history of the Independent Group, and the complete series of forty-five collages was illustrated, the word ‘bunk’ was not mentioned in relation to either, and it was clear that the story of Bunk had yet to be properly formulated. Further, the collages had still at this point not been given titles – Evadne in green dimen - sion is annotated ‘Collage, 1952’. It seems highly likely that the Bunk series was consolidated, in terms of selecting which images were to be included and also finalising individual titles

32 Nigel Henderson to Wyn Henderson, 24th November 1971, TGA, 9211/1/2/4. in Spencer, op. cit . (note 2), p.198. 33 Most of the published handwritten annotations were made by Frank Whitford, to 35 E. Paolozzi: ‘About the Prints: The Artist Talking at an Interview’, interview with Paolozzi’s dictations. This particular note was included by Paolozzi in Whitford's C. Hogben and E. Bailey, in F. Whitford et al .: exh. cat. Bunk. A box-file of images absence. The catalogue was paid for to a large extent by Paolozzi. Thanks to Frank in print , London (Victoria and Albert Museum) 1973, unpaginated. Whitford for this information. 36 E. Paolozzi: ‘Paolozzi Explains About “Bash”’, Observer Magazine (19th Septem - 34 E. Paolozzi: introductory text to the print portfolio Cloud Atomic Laboratory , repr. ber 1971), p.42; repr. in Spencer, op. cit . (note 2), p.219.

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31. Will man outgrow the earth? , by Eduardo Paolozzi. 32. Was this metal monster master or slave? , by 33. Vogue gorilla with Miss Harper , by Eduardo 1972. Lithograph, 24 by 32 cm. (After 1952 collage, Eduardo Paolozzi. 1952. Collage, 36.2 by 24.8 Paolozzi. 1950. Collage, 19.5 by 32.5 cm. (Krazy 36.3 by 25.7 cm, Victoria and Albert Museum, London). cm. (Tate, London). Kat Arkive, Victoria and Albert Museum, London). and the name of the group as a whole, on the basis of those and display of such material, it was a natural choice to return collages chosen for reproduction in this catalogue. During an to the early collages. The degree to which the Bunk series was interview the following year Paolozzi responded evasively to in fact created at this point has rarely been observed: Marco the question as to whether the forty-five collages formed a Livingstone is one of the few writers to have acknowledged complete unit before the Tate exhibition, stating only that their retrospective evaluation. 38 Alongside the publication of ‘some were chopped up, as I said, and used, and thrown the collages as prints, it was at this moment that the original away’, but then confirming that all of the Bunk collages were collages were accorded full artistic status and began to enter used in the 1952 ICA lecture. 35 The later dates of a selection museum collections. Following his retrospective Paolozzi of the collages indicates that this cannot be entirely true. donated ten of the Bunk collages to the Tate Gallery (see That even the title Bunk was chosen at this time (there is no Appendix for details). 39 As a letter from Richard Morphet to documentary record of it referring to the 1952 epidiascope Paolozzi of the following year makes clear, Paolozzi had projection) and had not previously been associated with this offered clarification on the titles of the individual collages particular set of collages can be inferred from Paolozzi’s by providing the Tate with the information sheets that were description of the screenprint B.A.S.H. , which was produced to accompany the print series. 40 at the time of the Tate retrospective. In his account of A description of the creation of the print portfolio is beyond B.A.S.H. , published in the Observer Magazine three days the scope of this article. 41 It is important however to note that before the opening of the Tate exhibition, Paolozzi states the first full and complete catalogue list of the series, with titles, that he had originally wanted to call the work ‘Bunk!’ as a way was created for the boxed set of prints (produced in an edition of distinguishing it from Pop. 36 The Tate retrospective of fifty deluxe sets and one hundred standard sets, with an included, as the press release revealed, a ‘continuous slide introductory essay by Frank Whitford). The life of Bunk from show of images from popular sources, similar to those which that moment forward is the life of the print series, rather than Paolozzi projected at the now historic first meeting of the the collages themselves, some of which, Paolozzi later claimed, Independent Group in 1952’. 37 Again, there was no mention were at that point thrown away. 42 A touring exhibition of the word ‘bunk’ in relation to the projection. the next year titled Bunk. A box-file of images in print , organised Paolozzi had begun planning the creation of a print port- by the Victoria and Albert Museum, consolidated public folio of the Bunk collages at the time of the Tate exhibition. knowledge of the series. The story was further galvanised by Given the availability of the collaged material that he had Wieland Schmied’s essay ‘Bunk, Bash and Pop’, first published amassed and his concern to publicise his pioneering interest in the catalogue of Paolozzi’s exhibition at the Nationalgalerie,

37 Press release: ‘Eduardo Paolozzi’ (18th June 1971), TGA 92/239/1. included in the Krazy Kat Arkive in the same museum (see Appendix). 38 M. Livingstone: Pop Art. A Continuing History , London 1990, p.34. 40 R. Morphet to E. Paolozzi, 24th July 1972, TGA 4/2/805/2. 39 A further five were included in an exhibition at the Anthony D’Offay Gallery, 41 See the forthcoming catalogue raisonné of Paolozzi’s prints by Daniel Herrmann. London, in 1977 (Appendix, nos.7, 11, 21a, 30 and 37). Twelve entered the collec - 42 Robin Spencer has suggested that this is highly unlikely; conversation with the tion of the Victoria and Albert Museum in 1985 (see Appendix), and four were present writer, 2008.

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34. Trigger assembly removal , by Eduardo Paolozzi. 1972. Lithograph, 25 by 38 cm. 35. ‘Strobe-Strip’ photographs of Winnie Garret, by Phillipe Halsman, from US (After 1950 collage, whereabouts unknown). Camera (1950).

Berlin, in 1975, and reprinted for the catalogue accompanying 36. Yours till the the Arts Council touring exhibition the following year. 43 This boys come home , by Eduardo Paolozzi. contains all the elements of the Bunk myth – the sensational 1951. Collage, 36.2 epidiascope presentation, the prophetic engagement with by 24.8 cm. (Tate, popular material from American publications, the excitement London). and pure improvisatory zeal of Paolozzi’s engagement with his source material. 44 But if the effects of this presentation, as Schmied continues, were first felt only four years later at the exhibition This is Tomorrow , there is little indication that Paolozzi was acknowledged or that anyone realised the impor - tance of the Bunk collages as prototypes of a new movement for at least another twenty years. From then, publications dis - pensed with Paolozzi the Brutalist sculptor and grounded his ‘collage conception’ in the early collages, the visit to Paris, the contact with Surrealism and the famous lecture at the ICA on his return. The catalogue for his 1976 exhibition at the Kestner Gesellschaft in Hanover contains a small selection of the Bunk collages interspersed with spreads from the Psycho - logical Atlas scrapbook. Most of the catalogue texts dealt with the Bunk collages and the questions raised by them. Against this background of reception and reassessment, a more detailed analysis of individual works may be offered. The sheer number of images complicates such an analysis, as does the lack of narrative progression through the series Paolozzi retrospectively referred to the source material and the apparently random order in which they are pre- for his collages as ‘ready made metaphors’, but the category sented. For the sake of clarity, comment on the themes and can be further refined to refer to those Bunk works that are sources by which the collages are related may be set out by not in fact collages but simply tearsheets re-presented as works dividing the series into three main types. First, the ‘ready - of art. 45 Of these, Vogue gorilla with Miss Harper (Fig.33) is made’ type, or single unaltered tearsheet; second, the ‘layout the most direct presentation of an image cut from a magazine proposition’ type, which sees Paolozzi apparently experi - (in this case the source is indicated in the title) and presented menting with page layout schemes; and last the ‘composite’ whole. Comparison of several works of this ‘readymade’ type type, more pictorial collages that relate to a tradition that may shows that Paolozzi’s principle of selection was often deter - be traced back to the Dada photomontage of Hannah Höch mined by the ‘collaged’ nature of the source – unexpected and Raoul Hausmann. juxtapositions that often take on a trompe-l’œil quality. This

43 L. Grisebach, ed.: exh. cat. Eduardo Paolozzi: Skulpturen, Zeichnungen, Collagen , illustration on p.97. Paolozzi incorrectly dated this collage to 1947 in the 1971 Berlin (Nationalgalerie) 1975; W. Schmied: ‘Bunk, Bash, Pop’, in F. Whitford, R. Tate catalogue. Spencer and W. Schmied: exh. cat., Eduardo Paolozzi , London and touring (Arts 47 Six further images can be put in the ‘Readymade’ group: New life for old radios ; 2000 Council) 1976–77, pp.21–25. horses and turbo-powered ; Goering with wings ; Mother Goose goes to Hollywood , an adver- 44 Ibid ., p.21. tisement for the Disney cartoon of the same name, released in 1938, that placed 45 Paolozzi, op. cit . (note 35), unpaginated. caricatures of well-known Hollywood actors in fairy-tale roles; North Dakota’s lone sky 46 S.E. Jones: ‘Fun Helped The Fight’, National Geographic 93 (January 1948), scraper , which was taken from a special issue of National Geographic devoted to North

244 april 2008 • cl • the burlington magazine THE ‘BUNK’ COLLAGES OF EDUARDO PAOLOZZI principle is clear in Fun helped them fight (Fig.30), a single unaltered sheet from National Geographic (January 1948) show - ing a B-17 bomber plane at an English base being attended by a ground crew. The cartoon character painted onto the fuselage of the aircraft appears at first sight to have been collaged onto it by Paolozzi himself, but is in fact part of the source photograph. It is taken from an article illustrating the informal customising of American aircraft by their crews – a type of vernacular proto-Pop art, it may be suggested. 46 Other ‘readymade’ collages are presented in the form of magazine covers, such as Was this metal monster master or slave? (Fig.32), which shows the cover of a science fiction magazine dated February 1952. The cover of Time magazine used for Will man outgrow the earth? (Fig.31) is dated 8th December 1952, but the wear and tear on the cover suggests 37. Double-page spread from US Camera (1950) showing source material for that at least a few months, if not more, had passed before Paolozzi’s Take-off . Paolozzi affixed it to a backing sheet and preserved it as a collage – an important point to bear in mind. 47 Equally intriguing ‘readymade’ tearsheets are those taken directly By creating connections between disparate elements, he from magazine articles. Fantastic weapons contrived (taken from argues, the pages of modern newspapers provide an equivalent Life International of 24th September 1951; Fig.26) presents a for the universalism found in modern art and science: ‘the single unaltered page from an article about the ‘fantastic’ French Symbolists, followed by James Joyce in Ulysses , saw atomic weapons announced in Congress by President that there was a new art form of universal scope present in Truman earlier that year. 48 A strange collage of two pages, one the technical layout of the modern newspaper’. 50 from Time magazine of March 1952, is presented in Electric The second group of Bunk collages extends the principle of arms and hands also showing love is better than ever , the title taken selection into experimentation with page layout. Improved from a collaged sentence constructed from the two sheets. 49 beans , for example, shows two advertisements collaged side That the front page of a newspaper or a single sheet from a by side in what seems like a mock-up double-page spread magazine could be considered a work of art was suggested in from a magazine such as the Ladies’ Home Journal . The image 1951 by Marshall McLuhan in his book The Mechanical Bride . of Van Camps beans on the right was indeed taken from the

38. See them? A 39. Take-off , by Eduardo baby’s life is not all Paolozzi. 1950. Collage, sunshine! , by Eduar - 34.5 by 23.5 cm. (Dean do Paolozzi. 1948. Gallery, Scottish Collage, 28 by 38 National Gallery of cm. (Krazy Kat Modern Art, Arkive, Edinburgh). Victoria and Albert Museum, London).

Dakota (September 1951, p.291) and was presented in the 1971 Tate catalogue (where armed with atomic warheads’. Photographs from Life were the subject of an exhi- it is incorrectly dated to 1950) on the same sheet as Will alien powers invade the Earth? , bition staged at the Institute of Contemporary Arts in March 1952, shortly before the a science-fiction illustration taken by Paolozzi and shown without alteration. epidiascope projection. 48 ‘Fantastic Weapons. What some of the talk is about’, Life International 160 (24th 49 The column on the right is taken from Time (24th March 1952), reporting on the September 1951), pp.121–24 and 129. The page excised by Paolozzi opposes a film Retreat, Hell! , inspired by the Korean War. science fiction-style illustration of jet planes mounting a ‘stratospheric attack [. . .] 50 M. McLuhan: The Mechanical Bride , New York 1951, p.4.

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40. You’ll soon be congratulating yourself! , by Eduardo Paolozzi. 1949. Collage, 30.5 by 23 cm. 41. Real gold , by (Victoria and Eduardo Paolozzi. Albert 1950. Collage, Museum, 35.6 by 23.5 cm. London). (Tate, London).

December 1946 issue of that magazine, cut in half to omit a from the same edition of US Camera .55 These crash photo - diagonal strip of text. 51 Such layout propositions are also used graphs were taken by Naval photographers in the Pacific in two other related collages: No 0ne’s sure how good it is , a during the War, and were chosen by ‘Capt. Edward Steichen, horizontal juxtaposition of a laboratory interior above a city- in command of Navy Combat photography’ as a tribute to war street scene showing a lorry advertising Alfalfa. As with photographers. 56 Winnie Garret’s pose in the top photograph Fun helped them fight , Paolozzi has selected a deceptive image of is dramatised by its combination with the flight deck crash, collage in the real world – here the two female figures that while the naval photographs take their place within the erotic appear to be standing on the lorry are cardboard cut-outs. 52 sequence. Again, McLuhan’s analysis of American advertising Four further collages of the ‘layout’ type are related by a single in The Mechanical Bride provides illuminating contemporary source. Windtunnel test shows six images of a man’s face at pro- background to Paolozzi’s preoccupations, particularly his gressive stages of distortion with exposure to a high-velocity description of advertising as a revelation of the ‘interfusion air current. The collage itself has been inscribed with its source: of sex and technology’. 57 In effect, Yours till the boys come home US Camera from 1950. 53 This was an annual compendium of shows Paolozzi taking raw photographic material and creating the work of well-known professional photographers, includ - juxtapositions that adopt the language of advertising without ing both reportage and ‘art’ photography. The sequence of the referring to a particular product. For sale, it may be said, is photographs in Windtunnel test has been switched to disrupt a the language of advertising itself. Paolozzi repeated this chronological reading, and the sheets have been affixed to a combination in a further collage made with material from sheet of blue paper which itself appears to be attached to the US Camera of 1950, the collage Take-off (Fig.39), showing a detached front or back boards of a book. Trigger assembly leaping ice skater whose pose provides a dynamic response to removal (Fig.34) is a similar rearrangement of sequential images the image above of a plane preparing for take-off. Both these taken from the same edition of US Camera , ‘strobe-strip’ images derive from a double-page spread in the advertising photographs of the well-known striptease artist Winnie section of US Camera of 1950 (Fig.37). 58 Garret taken by the photographer Phillipe Halsman (Fig.35). 54 A further common source for collage material was the Halsman’s photographs were also used in Yours till the boys Ladies’ Home Journal , a leading American magazine and one come home (Fig.36), which combines the two larger images of of the most frequently cited sources of advertising imagery Winnie Garret with three of an aircraft after an accident, taken for English artists in the post-War period. 59 Advertisements

51 The format is used elsewhere to create front- and back-cover spreads. The ultimate illustrated in the 1971 Tate catalogue and appears to have been appended at a later planet combines the cover of Thrilling Wonder Stories , a collection of pulp science fic - moment. tion published in April 1949, and Science Fantasy (Spring 1952), published just in time 55 Ibid ., p.13. Paolozzi captions this in the 1971 Tate catalogue as ‘US Camera, 1951’, for the ICA projection. Similarly, Headlines from horrorsville shows the cover of the first a rare moment of post-dating. issue of Unknown Worlds (1948) and that of Popular Mechanics from January 1951. 56 Ibid ., p.11. 52 A similar combination of serious and popular science is provided by Merry Xmas with 57 McLuhan, op. cit . (note 50), p.94. Robin Spencer provides an excellent account of T-1 space suits , which shows an image of ‘T-1 Space Suits’, constructed from a double- McLuhan’s writings in relation to the Bunk collages, without commenting on the page spread over a similarly patched-together image of toy ‘rocket guns and inter - possibility of a direct influence; see Spencer, op. cit . (note 2), pp.20–24. planetary ships’ which will ‘whoosh down U.S. chimneys for 1952’s space-suited kids’. 58 Two further ‘layout’ collages may be connected by source material: both Folks 53 T. Maloney, ed.: US Camera Annual 1950. International Edition , New York 1949, always invite me for the holidays and What a treat for a nickel! use Planters Peanuts adver - pp.332–33. tisements taken from the Ladies’ Home Journal . 54 Ibid , pp.160–61. It is the only Bunk collage used in the print portfolio that was not 59 See Stonard, op. cit . (note 16), p.615.

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42. Refreshing and delicious , by Eduardo Paolozzi. 1949. Collage, 39.4 by 27.9 cm. (Collection Jeffery 43. Double-page spread from the Yale Iron scrapbook, by Eduardo Paolozzi. Sherwin). (Krazy Kat Arkive, Victoria and Albert Museum, London) for Johnson’s Baby Powder, featuring a giant baby and of a consumerist pastoral, they still more readily evoke the diminutive mother appeared in the magazine around 1946 traditional photomontage of John Heartfield or Max Ernst. to 1947, four of which were brought together by Paolozzi Paolozzi is at his most critical when he is effacing works of to form See them? A baby’s life is not all sunshine! (Fig.38). 60 art – or at least reproductions. Sack-o-sauce affixes a variety of Paolozzi also mined the Ladies’ Home Journal for source popular imagery, including a hand proffering a tin of Wiener material to create It’s a psychological fact pleasure helps your hot dogs containing its own ‘sack of sauce’, over a work by disposition , the title of which was a slogan used for a Joan Miró – in this case a photolithograph called Summer taken number of years to advertise Camel cigarettes, here taken as a from Verve of October 1938. The new landscape Paolozzi general mantra of the meeting of psychology, consumption creates seems at least partially sympathetic to the original. His and the new concept of market research. Both interiors treatment of another source is far more dismissive. Although depicted in the collage were taken from the same issue of the Evadne in green dimension (Fig.22) gives the series its name Ladies’ Home Journal (April 1947), the top from an advertise - by the inclusion of the word ‘Bunk!’, 63 the strange title of ment for gasoline (p.86), the bottom from an advertisement the work is derived from a painting by the German émigré for Johnson’s Glo-Coat floor polish (p.110). It is clear that impresario Jack Bilbo. A one-time bodyguard of Al Capone Paolozzi’s intention in pasting in figures from other advertise - and career conman, Bilbo turned to art and opened a gallery of ment s61 was not to create collage-like discrepancies of scale or modern painting, improbably, in London during the Blitz. 64 In Surreal juxtapositions of foreign bodies, but rather to create a 1948 he published his vastly egotistical autobiography, com - new, seamless image. This effect may be seen in a number of plete with extensive text and numerous images, reproduced as the Bunk works. Whereas photographic images, or at least stuck-down plates. 65 His painting Evadne in green dimension , magazine spreads, were selected on the basis that they were from 1945, is typical of his amateur efforts, and Paolozzi clear - already collage, a sort of pre-collage perhaps, Paolozzi’s ly had no reservations about dispensing with the pasted-down manipulation of the material often ‘de-collages’ the material, illustration and using both the page and (when he came to in the sense of creating new naturalistic scenarios (for similar naming the collage in 1972) the title of Bilbo’s painting. The seamless collages, see Appendix, nos.13, 30 and 35). Hender - title sheds little light on the subject of the collage, which shows son was right to suggest that the Bunk collages were by no a bodybuilder and pin-up figure in a relation that looks means ‘graphic weapons of social change’. 62 forward to the Adam and Eve characters that were to appear The third group within the Bunk series can be identified in Richard Hamilton’s Just what is it that makes today’s homes so from their composite, pictorial nature. Although these too are different, so appealing? (1956). As with Hamilton’s collage, most hardly ‘graphic weapons’, and may even be described in terms of Paolozzi’s titles are derived from advertising copy, and often

60 The title, first given in the 1972 print portfolio, is a misreading of the slightly 63 The source for the Charles Atlas figure is often given as the December 1936 issue unusual typeface, partly missing from the original advertisement, which appeared in of Mechanics and Handicraft (e.g., M. Francis: Pop , London 2005, p.51). This is visibly April 1946, that reads ‘See Mom? A Baby’s Life isn’t all Sunshine!’. not the case as a comparison of the lettering for the word ‘Bunk!’ shows. An exam - 61 The bottom figure is found in an advertisement for Simoniz floor polish, includ - ple of the advertisement for the Charles Atlas ‘dynamic tension’ method can be found ed in the Ladies’ Home Journal (June 1949). in the October 1952 issue of GI Joe comic. 62 Other images of the ‘layout’ type are: Man holds the key ; Has jazz a future? ; Hazards 64 See J. Vinzent: ‘Muteness as Utterance of a Forced Reality – Jack Bilbo’s Modern include dust, hailstones and bullets , which was paired with Survival in the 1972 portfolio; Art Gallery (1941–1948)’, in S. Behr and M. Malet, eds.: Arts in Exile in Britain Poor Eleanor knows them by heart ; Shots from peep show , which appears at first as a ‘ready - 1933–1945. Politics and cultural identity, The Yearbook of the Research Centre for German made’ tearsheet, but a closer look reveals that the figure on the right is collaged; and and Austrian Exile Studies 6, Amsterdam and New York 2004, pp.301–38. Never leave well enough alone , the only image listed in the 1971 Tate catalogue as a 65 J. Bilbo: Jack Bilbo, an autobiography , London 1948. Other collages by Paolozzi, though ‘Scrapbook page’, and which may still exist as such. Its title is that of the autobiography not from the Bunk series, use illustrated pages torn from Bilbo’s book and replicate of Raymond Loewy, the designer of the Studebaker illustrated on the left side. the titles, for instance Holiday and Sadistic confession , both erroneously dated to 1947.

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appear within the collage itself. You’ll soon be congratulating yourself! (Fig.40) is a precursor of Hamilton’s collage, using an earlier advertisement for Armstrong Floors (Hamilton had used one published in 1955) and similarly taking the title from a line in the advertising copy, visible just above the image. 66 One further source may be used to group the works. The backing sheet for You’ll soon be congratulating yourself! was taken from an unidentified book on interior decoration, which was also used as the basis for two other ‘composite’ collages from the Bunk series. Paolozzi often used printed books as scrapbooks, and it is likely that these collages were taken from such a source. Meet the people is made from five elements affixed to a page from this spiral-bound book, including a large photograph of the Hollywood actress Lucille Ball. As Mark Francis has noted, Paolozzi dated the collage to the same year that Ball became a household name, owing to her success in the CBS radio programme My Favourite Husband . She was a ‘commonly recognised icon in magazines and on the 44. Hi-Ho , by airwaves, like the food and drink products, the serving Eduardo Paolozzi. suggestions and the mouse cartoon character, which all seem 1947. Collage, 37.9 to be vying for equal billing in the artist’s composition’. 67 by 24 cm. (Victoria The point is important – within the composite type images, and Albert Museum, London). but also with the series as a whole, Paolozzi appears intent on creating some sort of natural space where heterogeneous Only a selection of source material and contextual inform- elements can co-exist: collage is used as a way of creating links ation can be presented here. Themes identified, including the and associations, rather than forcing dissonance. collaged nature of source material, ‘collage in the real world’, A sheet from the spiral-bound decoration book was also perhaps; the combination of female figures and technology, used as a backing for a further collage of the composite particularly military; the overwriting of fine art with popular type, Real gold (Fig.41). The title derives from the tin of imagery, as well as the repeated use of particular source books Real Gold lemon juice, displaying two ripe fruit that Paolozzi and magazines, may be extended to other collages in the has cheerily juxtaposed with the bosom of the cover girl of series, and also to the numerous images in contemporaneous Breezy Stories . This is the 1948 British edition of the magazine scrapbooks. (Paolozzi has obscured these cover details with the orange A further question that can be dealt with only briefly here is star bearing the numeral ‘6’). 68 Many advertising sources that of dating. It is widely held that the dating of many of similar to those used in Meet the people and Real gold can be the collages is spurious and, as examples cited above show, found in Paolozzi’s Yale Iron scrapbook (so called because of these suspicions are entirely justified. In some cases Paolozzi’s the advertisement for Yale domestic irons pasted on the cover; backdating of the collages is obvious, and naïve. The dynamics Fig.43). 69 Yale Iron is distinct from the nine other scrapbooks of biology is given in the 1971 Tate catalogue as 1950, but shows held in this archive (in particular from the Pyschological clearly the source image as the cover of Life magazine of Atlas , mentioned above) in that it comprises glossy colour 22nd September 1952. But this should not always be taken as advertisements taken exclusively from Ladies’ Home Journal - evidence of a breathless effort to establish ‘primogeniture’; type publications. None of the Bunk collages was taken two decades had elapsed, and the exact sequence was most from the Yale Iron scrapbook, which remains intact, and is probably beyond accurate recall. It seems clear from their more of an archival accumulation of material. Refreshing and physical condition that certain tearsheets, in particular comic delicious (Fig.42) is also of the ‘Yale Iron’ type, showing on the and magazine covers, were affixed in their current form much left side an advertisement for Ivory Flakes washing powder, later than the 1952 projection. Hi-Ho (Fig.44), for example, taken from the Ladies’ Home Journal (April 1947), and on features the cover of the second issue of Hi-Ho Comics , pub - the right side an advertisement for Kool-Aid, taken from lished in 1946 (showing the character ‘Lil Chief Hot Shot’ the July 1949 issue of the same magazine (the facing page attacking a character who may be identified with a Japanese of which provided the Planter’s advertisement used in What soldier), above which are pasted a fantasy mechanical skeleton a treat for a nickel! ). of a man and an unappetising plate of food. The elements are

66 The female figure collaged naturalistically into the interior is the actress Paulette 69 London, Victoria and Albert Museum, Krazy Kat Arkive, AAD1985/3/6/2. Goddard, taken from an advertisement for Lipton Tea from the Ladies’ Home Journal 70 E. Paolozzi: ‘Collage or a Scenario for a Comedy of Critical Hallucination’, in exh. (April 1947). cat. Eduardo Paolozzi, Collages and Drawings , London (Anthony D’Offay Gallery) 67 Francis, op. cit . (note 63), p.51. 1977; repr. in Spencer, op. cit . (note 2), p.251. 68 The striking cover is by the illustrator Enoch Bolles, often credited with creating 71 W. Konnertz: Eduardo Paolozzi , Cologne 1984, p.196. the pin-up genre. His female figures have been described as the ‘embodiment of 72 B. Groys: ‘Art as the Attribution of Worth to the Worthless’, in M. Stockebrand several styles and eras; from the Edwardian, to the flapper to the vamp’; see J. Raglin: and B. Groys: exh. cat. Geld spielt keine Rolle: Georg Herold , Cologne (Kölnischer ‘Beauty by Design: The Art of Enoch Bolles’, Illustration Magazine 9 (2004), pp.4–30. Kunstverein) 1990.

248 april 2008 • cl • the burlington magazine THE ‘BUNK’ COLLAGES OF EDUARDO PAOLOZZI in poor condition, the magazine frayed at the edges, with a which is held together with sections of brown gum strip, is strip of Sellotape that once held the spine together still in place. signified by its accurate reproduction in the 1972 lithograph The date given in the 1971 Tate catalogue is 1947, although of the collage (although the original collage has not been the state of the cover of the comic book indicates more than a located, it is reasonable to assume that it is the source of these year’s wear. A similar point may be made for You can’t beat the signs of wear). Winfried Konnertz compares Paolozzi’s efforts real thing (Fig.24), which comprises a cover for Cover Girls to reproduce these signs of damage and rudimentary repair Models magazine of October 1951 placed over the cover of with Duchamp’s creation of his Boîte-en-valise , although the another magazine dated January 1950, which can be identified comparison may be better made with the Green box , for which as Scientific American . An advertisement for Firestone Tyres has Duchamp recreated the many irregular scraps of paper that been placed beneath the model, identified as Lila Leeds (the contained notes relating to the Large glass .71 The comparison ‘Bad Girl’ Hollywood actress who was notorious for having may also be extended to Duchamp’s readymades themselves, been arrested in 1948 with Robert Mitchum and charged with which suffered neglect for a number of years, and in a possession of marijuana). In both cases it seems that Paolozzi number of cases were thrown away, before being revived dated the collage to the year of publication of the source mate - through replicas made at a much later date. It may seem rial, which may suggest that as ‘readymades’ this date was more as integral to the fate of ‘readymade’ art that it sustains a important than the year the collage was assembled. burden of anonymity before achieving full artistic value, but Beyond the question of dating, the poor physical quality only as a result of nostalgia for lost origins. It is in this sense of the collages is of interest for other, more interpretative, that the notion of the readymade converges with that of reasons. It was only once used-up, out-of-date, creased, reception in the historiography of art. In a different context, stained and torn that the sources became viable as collage Boris Groys has described the conservative, even reactionary material. Paolozzi appears to have been strongly aware of affinity between art and ‘garbage’ as an ‘aestheticisation of this, once recording that ‘the word collage is inadequate poverty’ that reflects on the ‘electness’ of art – ‘the miracle because the concept should include damage, erase, destroy, of value produced by a single touch of the artist or saint’. 72 deface and transform – all parts of a metaphor for the creative In either case, behind both the original creation of the act itself’. 70 A new brand of brilliance (Fig.23) uses the cover of Bunk series and their replication as a print series in 1972 is Picture Post from 13th March 1943, showing Fred Astaire an impulse towards preservation of the forgotten and the and Rita Hayworth dancing, below which the banner from a devalued, or perhaps an ecological principle of recycling later issue of the same publication (2nd October 1943) has and revaluation, which was to become one of the most salient, been affixed. The importance of the damage to the cover, yet unexamined, aspects of Pop art.

Appendix

Complete list of collages in Eduardo Paolozzi’s ‘Bunk’ series. 20. It’s daring it’s audacious . 1949, 32.5 by 24.5 cm. Krazy Kat Arkive, Victoria and Albert Museum, London. 21a. North Dakota’s lone sky scraper . 1950. Untraced. All dates are those given in the 1971 Tate Gallery retrospective catalogue. Terminus 21b. Will alien powers invade the Earth? . 1950. Untraced. post quem dates based on the research presented here are given in square brackets. 22. Windtunnel test . 1950. 24.8 by 36.5 cm. Tate, London. Many of those collages marked ‘untraced’ may be assumed to remain in Paolozzi’s 23. New life for old radios . 1952. Untraced. personal archive, unavailable to the present writer. 24. 2000 horses and turbo-powered . 1952. Untraced. 25. I was a rich man’s plaything . 1947 [1951]. 35.9 by 23.8 cm. Tate, London. 1. Evadne in green dimension . 1952. 33.1 by 25.4 cm. Victoria and Albert Museum, 26. Never leave well enough alone . 1949. Untraced. Prints and Drawings collection, London. 27. No one’s sure how good it is . 1952. 30.5 by 16.1 cm. Victoria and Albert Museum, 2. Will man outgrow the earth? . 1952. 36.3 by 25.7 cm. Victoria and Albert Museum, Prints and Drawings collection, London. Prints and Drawings collection, London. 28. Man holds the key . 1950. 36.4 by 25.4 cm. Victoria and Albert Museum, Prints 3. Fun helped them fight . 1947 [1948]. 25.6 by 17.6 cm. Victoria and Albert Museum, and Drawings collection, London. Prints and Drawings collection, London. 29. Merry Xmas with T-1 space suits . 1952. 38.2 by 28.5 cm. Victoria and Albert Mus- 4. The ultimate planet . 1952. 25.1 by 38.1 cm. Tate, London. eum, Prints and Drawings collection, London. 5. See them? A baby’s life is not all sunshine! . 1948. 28 by 38 cm. Krazy Kat Arkive, 30. A new brand of brilliance . 1947. Untraced. Victoria and Albert Museum, London. 31. Hi-Ho . 1947, 25.6 by 17.6 cm. Victoria and Albert Museum, Prints and Draw - 6. Sack-o-sauce . 1948, 35.6 by 26.4 cm. Tate, London. ings collection, London. 7. Take-off . 1950. Dean Gallery, Scottish National Gallery of Modern Art, 32. You can’t beat the real thing . 1951. 35.7 by 24 cm. Victoria and Albert Museum, Edinburgh. Prints and Drawings collection, London. 8a. Hazards include dust, hailstones and bullets . 1950. 24.8 by 18.6 cm. Victoria and 33. It’s a psychological fact pleasure helps your disposition . 1950. 36.2 by 24.4 cm. Tate, Albert Museum, Prints and Drawings collection, London. London. 8b. Survival . 1950. 24.8 by 18.6 cm. Victoria and Albert Museum, Prints and 34. Mother Goose goes to Hollywood . 1948. Untraced. Drawings collection, London. 35. Shots from peep show . 1952. 30.8 by 34.2 cm. Krazy Kat Arkive, Victoria 9. Was this metal monster master or slave? . 1952. 36.2 by 24.8 cm. Tate, London. and Albert Museum, London. 10. Meet the people . 1948, 35.9 by 24.1 cm. Tate, London. 36. Lessons of last time . 1947, 22.9 by 31.1 cm. Tate, London. 11. Improved beans . 1949. Untraced. 37. A funny thing happened on the way to the airport . 1952. Untraced. 12. Refreshing and delicious . 1949. Collection Jeffery Sherwin. 38. The dynamics of biology , 1950 [1952]. Untraced. 13. You’ll soon be congratulating yourself! . 1949. 30.5 by 23 cm. Victoria and Albert 39. Poor Eleanor knows them by heart . 1952. 24.8 by 20.5 cm. Krazy Kat Arkive, Museum, Prints and Drawings collection, London. Victoria and Albert Museum, London. 14. Goering with wings . 1941. Untraced. 40. Write Dept P-I for beautiful full-colour catalog . 1949. Untraced. 15. Real gold . 1950. 35.6 by 23.5 cm. Tate, London. 41. Folks always invite me for the holidays . 1949. Untraced. 16. Fantastic weapons contrived . 1952. Untraced. 42. What a treat for a nickel! . 1950. Untraced. 17. Has jazz a future? . 1944. Untraced. 43. Yours till the boys come home . 1951. 36.2 by 24.8 cm. Tate, London. 18. Vogue gorilla with Miss Harper . 1950. 19.5 by 32.5 cm. Krazy Kat Arkive, Victoria 44. Headlines from horrorsville . 1951. 25.3 by 39 cm. Victoria and Albert Museum, and Albert Museum, London. Prints and Drawings collection, London. 19. Electric arms and hands also showing love is better than ever . 1952. Untraced. 45. Trigger assembly removal . 1950. Untraced.

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