Exhibition catalogue published in conjunction with show held circa 1980. Catalogue includes essay by Hamilton, reproductions of works in exhibition and “catalogue” list.

Richard Hamilton, the artist born in London in 1922, already chose etchings in 1950 for his first exhibition in London, and his love for this traditional technique has hardly waned. In the mid-fifties he, like many Pop Art artists in his wake, discovered the mythic and epic elements in the contemporary world of imagery and integrated these found objects from everyday life, now seen as artworthy, into his work. At the beginning of the sixties he was one of the pioneers who tried out the possibilities of silkscreen printing. Since 1988 he has created a world of images via the computer. His very varied artistic production manifests one of his basic principles, which he shares with his longtime friend, Marcel Duchamp: always after finishing one project, make sure the next one is its opposite. Richard Hamilton’s graphic works, the worldwide greatest stock of which is found in the Kunstmuseum Winterthur, is being presented for the first time comprehensively in this publication on the occasion of his eightieth birthday.

Still little-known in the United States, Richard Hamilton is a key figure in twentieth-century art. An original member of the legendary Independent Group in London in the 1950s, Hamilton organized or participated in groundbreaking exhibitions associated with the group–in particular This Is Tomorrow (1956), for which his celebrated collage Just what is it that makes today’s homes so different, so appealing?, crystallizing the postwar world of consumer capitalism, was made. With his colleagues in the Independent Group, Hamilton promoted the artistic investigation of popular culture, undertaking this analysis in paintings, prints, and texts, thus setting the stage for Pop art–indeed, he is often called the intellectual father of Pop. At the same time, Hamilton was crucial to the postwar reception of Marcel Duchamp, transcribing his notes for The Large Glass and producing a reconstruction of this epochal piece for the first Duchamp retrospective in Britain, in 1966. Over the years Hamilton has continued to develop his work, in a variety of media, on subjects ranging from the Rolling Stones to the Troubles in Northern Ireland, from new commodities and technologies to the oldest genres in Western painting. True to the mission of the October Files series, this volume collects the most telling essays on Hamilton (including several hard-to-find texts by the artist), spanning the entire range of his extraordinary career.

For decades the most continually provocative of British artists, Richard Hamilton (1922–2011, right) was long concerned with the great themes of Western painting. At the time of his death, he was completing plans for an exhibition at the National Gallery, London, to include the first public showing of what turned out to be his final work. Based on Balzac’s short story, The Unknown Masterpiece, it depicts three masters of painting—Poussin, Courbet, and Titian—contemplating a reclining female nude and reflecting on the meaning of art. As with much of Hamilton’s late work, the image was generated by computer but over-painted by hand. Knowing he would not complete it, Hamilton decided to show three preparatory versions simultaneously. In addition, he selected thirty paintings tracing the development of his art, featuring single-point perspective and the depiction of interior spaces, the sacred imagery of the Italian Renaissance, and allusions to the art of Marcel Duchamp.

With his memorably titled 1956 collage “Just What is it that Makes Today’s Homes So Different, So Appealing?,” British artist Richard Hamilton (born 1922) heralded the British Pop revolution; and with his 1967 “Swingeing London” series of prints, which depicted the arrest of Mick Jagger and Robert Fraser, Hamilton’s art entered the general public consciousness. But unlike so many Pop artists, Hamilton was never an uncritical or ambivalent advocate of postwar society, and he has often agitated directly against it, producing a great deal of openly political, satirical work that assaults both consumer culture at large and more immediate political events. This monograph, published for Hamilton’s 2010 exhibition at the Serpentine Gallery in London (his first exhibition since 1992), brings together Hamilton’s famous “protest” paintings as well as newer political works and features essays by Benjamin H.D. Buchloh and Michael Bracewell.

This book brought together for the first time in one volume the full range of Richard Hamilton’s writings, together with reproductions not only of his paintings and prints, but also of the visual documents which have been relevant to his work as an artist.

“Hal Foster dedica questo studio ai primi anni della pop art e a cinque artisti che più di altri hanno forzato i limiti della pittura riuscendo a combinare la rivoluzione pop di un’immagine immediata con temi culturali e identitari, da quì il sottotitolo “pittura e soggettività”. In questo gioco tra arte bassa e alta, la pop art rimane in contatto con “la pittura della vita moderna” definita un secolo prima da Baudelaire come quell’arte che si sforza di distillare l’eterno dal quotidiano, dal transitorio. Si tratta tuttavia di una pittura “strategica” (“una sorta di meta-medium” la definisce Hal Foster), pronta ad accoppiarsi con la fotografia o le arti grafiche, ad accostare privacy e forme pubblicitarie, l’iconico e l’evanescente, con un atteggiamento ambiguo nei confronti della grande arte e della cultura di massa. Tutto ciò consente agli artisti pop di non essere né critici né rigorosamente complici ma, infine, proprio tale ambiguità, permette alle proprie opere di non limitarsi a riprodurre le proprie fonti ma di reinventarle, di poter comunque coltivare una consapevolezza critica delle contraddizioni culturali in atto. Per i lettori interessati a collocare la pop art nell’ambito del postmoderno e delle teorie postrutturaliste sulla soggettività, il libro di Foster è destinato a diventare un importante lavoro di riferimento, resoconto magistrale di uno dei periodi più importanti dell’arte del XX secolo, ma anche un libro che getta nuova luce sul presente dell’arte e sul nostro complesso rapporto con le immagini.Concentro le mie riflessioni su cinque artisti — Richard Hamilton, Roy Lichtenstein, Gerhard Richter, Ed Ruscha e Andy Warhol —perché rimandano, in maniera più evidente di altri, alle mutate condizioni della pittura e dello spettatore nel primo periodo della pop art, che faccio risalire alla metà degli anni Cinquanta. Ridotta alla sua essenza, la mia tesi è che in questo periodo cambia sia lo status dell’immagine che quello della soggettività e i lavori di questi artisti lo dimostrano nel modo più suggestivo”.(Hal Foster)

A thought-provoking and visually compelling exploration of artistic expression and gastronomic creativity through the work of the worlds most revolutionary chef, Ferran Adri. A lively dialogue featuring internationally acclaimed artists and critics. Ferran Adri has revolutionized the world of gastronomy. His 3 Michelin star elBulli, is recognized as the world’s best restaurant. So original and poetically sensible is his approach to cooking that he is considered to be the greatest ]artist of the kitchen.] In 2007, he was the first chef to be invited to participate in Documenta (Kassel, Germany), the worlds most important art exhibition. Food for Thought, edited by Vicente Todoli, director of the Tate Modern (London) and by Richard Hamilton, contemporary pop-art legend, explores Adri’s participation in Documenta 12 and the debates this has stimulated between gastronomic creativity and artistic creation. With photos of Adri creations, Food For Thought compiles discussions, texts, and round tables between artists, chefs, critics, gallerists, and curators, representing thevoices of potent personalities of the art and gastronomic worlds.

Exhibition catalogue / artist’s book published in conjunction with show held October 8 – November 3, 1963. Catalogue designed, with printed acetate dust-jacket, by Marcel Duchamp. Introduction by Walter Hopps, with two short interview quotes credited to R.H. and M.D. (Richard Hamilton and Duchamp). Catalogue operates as an early quasi catalogue raisonné of Duchamp’s work, incorporating a “Chronology: Certain Facts of and About Marcel Duchamp,” indexes of “Early Work 1902-1911,” “Chess Paintings, Drawaings, & the Game,” “Climactic Work of Oil on Canvas, 1911-12,” “”… Out of Cubism and into a Mechanomorphology, 1912,” “A Moment of Critical Change… Notation and Measurement, 1913-14,” “Related to The Large Glass, 1913-14,” “The Large Glass Continues to its Sate of Incompletion…,” “First Readymades and Related Work, 1912-1916,” “Readymades Continue, 1916-1919,” “Late Readymades, 1919-1924,” “Optical Works, 1918-36 (Plus Later Editions),” “Recent Activities, 1935-1942,” “Recent Activities [1943-1951],” “Recent Activities, 1953-63.” Catalogue printed by Cunningham Press, who would later print many of Edward Ruscha’s artists’ books. Reference: Arturo Schwarz, “The Complete Works of Marcel Duchamp,” Harry N. Abrams, New York, 1970, pp. 541.

Artists represented in the exhibition include: Roth Dieter, Watts Robert, Warhol Andy, Spoerri Daniel, Thiebaud Wayne, Rivers Larry, Johns Jasper, Hartigan Grace, Katz Alex, Diebenkorn Richard, Bourgeois Louise, Brecht George, Dine Jim, Hamilton Richard, Johns Jasper, Klapheck Konrad, Latham John, Lichtenstein Roy, Melchert Jim, Morandi Giorgio, Oldenburg Claes, Penn Irving, Rivers Larry, Rosenquist James, Samaras Lucas, Segal George, Wesselmann Tom, Wyeth Andrew, Robbins Daniel.
Original initialed cover by Diter Rot, #289/1000

Drawing on avant-garde movements of the 1960s and 1970s as well as conceptual and sociological approaches in contemporary art, Collaborations examines diverse strategies of collective authorship in artmaking. The book also investigates how the collaborative models identified can be cultivated on a broader social level. Also highlighting examples from the 21st century, Collaborations calls into question the shifting dynamics of collaboration in the face of rapidly dissolving fundamental social structures. Artists include: Art & Language, Marina Abramovic & Ulay, Anna & Bernhard Johannes Blume, George Brecht, Phil Collins, Die Damen, Robert Filliou, Rimma & Valeriy Gerlovin, Gilbert & George, Richard Hamilton & Dieter Roth, Haus-Rucker-Co, Irwin, On Kawara, Alison Knowles, Louise Lawler, Lucy R. Lippard, George Maciunas, Ree Morton, Yoko Ono, Stephen Prina, Daniel Spoerri, Franz Erhard Walther and Wiener Gruppe.

Exhibition catalogue published in conjunction with show held November 19, 1970 – January 3, 1971. Introduction by Janet Daley. Texts by Karl Gerstner, Reyner Banham, Jiddu Krishnamurti, Anthony Wedgwood Benn and John Berger. Artists include Jean Arp, Thomas Bayrle, Joseph Beuys, George Brecht, Marcel Broodthaers, Lygia Clark, Hélio Oiticica, Robert Filliou, Ian Hamilton Finlay, Eva Hesse, Steven Kaltenbach, George Maciunas, Bruce Nauman, Yoko Ono, Keith Sonnier, Richard Serra, Alan Sarat and many others. Includes illustrated exhibition checklist and an index of lenders to the exhibition. Catalogue incorporates Beuys’ edition “I The Chief, II How to Explain Paintings to a Dead Hare,” 1970, and “Curriculum vitae and list of works,” 1964/70, documented as ‘The artist has authorized publication here of his ‘official’ biography as an original printed multiple work of art” on pages 19 -21 of this publication.

Texts by Marcel Duchamp, includes postscripts by Richard Hamilton and George Heard Hamilton. Cover based on a design by Duchamp, edited by Richard Hamilton. Later typographic translation of Duchamp’s “The Bride Stripped Bare by Her Bachelors Even (notes from the Green Box)”. With many illustrations after drawings from the artist’s notebooks, as well as black-and-white photo illustrations and transparencies. In English.