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1966193509New York: Guggenheim Museum 1966. Softbound. VG-: Stains to the margins; liquid damage along the bottom spine corner pages whose damage is also predominantly retained to the margins. Solid binding. Printed color wraps with text image. Exhibition assembled and introduction written by Lawrence Alloway curator; held September-November 1966 at the Solomon R. Guggenheim Museum New York New York./ Curator assisted by Mary Grigoriadis; edited by Linda Konheim and Susan Tumarkin; bibliography prepared by Diane Waldman./ Includes bibliographical references pages 56-65./ "2000 copies." Guggenheim Museum paperback
199013058M.I.T. Press Cambridge 1990. hardcover. fine. The Independent Group or the IG as it was called is best known for having launched Pop Art. But the young artists architects and critics who met informally at London's Institute of Contemporary Arts in the early 1950s were actually embarked on a far more subversive and constructive mission than the founding of an art movement. Street-smart anti-academic and iconoclastic they embraced Hollywood and Madison Avenue and rejected the traditional dichotomies between high and low culture British and American values. They used their meetings and exhibitions to challenge the official modernist assumptions of British aesthetics and to advocate instead a media-based consumer-based aesthetics of change and inclusiveness - an aesthetics of plenty. In doing so they drew upon Dadaist Futurist and Surrealist strategies to invigorate their alternative version of modernism - a version that today can be said to have insinuated the terms of postmodernism. This book provides the first comprehensive view of the IG's aims and significance. The texts and illustrations fully represent the achievements of its leaders including artists Richard Hamilton and Eduardo Paolozzi architects Alison and Peter Smithson and critics Lawrence Alloway and Reyner Banham. The historic exhibitions that publicized the ideas of IG members are also documented - "Parallel of Life and Art" "Man Machine and Motions" "This Is Tomorrow" and "An Exhibit." Above all the book emphasizes the interaction between the exhibitions discussions art and writings of IG members showing the ways in which they established a new aesthetic horizon. M.I.T. Press, Cambridge unknown
199019351<p>"The Independent Group or the IG as it was called is best known for having launched Pop Art. But the young artists architects and critics who met informally at London's Institute of Contemporary Arts in the early 1950s were actually embarked on a far more subversive and constructive mission than the founding of an art movement. Street-smart anti-academic and iconoclastic they embraced Hollywood and Madison Avenue and rejected the traditional dichotomies between high and low culture British and American values. They used their meetings and exhibitions to challenge the official modernist assumptions of British aesthetics and to advocate instead a media-based consumer-based aesthetics of change and inclusiveness - an aesthetics of plenty. In doing so they drew upon Dadaist Futurist and Surrealist strategies to invigorate their alternative version of modernism - a version that today can be said to have insinuated the terms of postmodernism. This book provides the first comprehensive view of the IG's aims and significance. The texts and illustrations fully represent the achievements of its leaders including artists Richard Hamilton and Eduardo Paolozzi architects Alison and Peter Smithson and critics Lawrence Alloway and Reyner Banham. The historic exhibitions that publicized the ideas of IG members are also documented - "Parallel of Life and Art" "Man Machine and Motions" "This Is Tomorrow" and "An Exhibit." Above all the book emphasizes the interaction between the exhibitions discussions art and writings of IG members showing the ways in which they established a new aesthetic horizon. " Text: Robbins David Baas Jacquelynn Alloway Lawrence. pp. 256; COL and BW; paperback. Near fine condition.</p> M.I.T. Press, paperback