{"title":"Eduardo Paolozzi","description":"\u003cp\u003eEduardo Paolozzi (1924–2005, United Kingdom) was a Scottish-Italian sculptor, printmaker and collagist widely regarded as a pioneer of British Pop Art. Working across sculpture, screenprint, mosaic and collage, his practice drew on mass media imagery, science fiction, advertising and popular culture to produce works of dense visual complexity. He is known for his monumental bronze sculptures, his screenprint series \u003cem\u003eAs Is When\u003c\/em\u003e (1965) and his mosaic decoration of Tottenham Court Road Underground station, London (1984). Paolozzi was a founding member of the Independent Group and participated in \u003cem\u003eSpellbound: Art and Film\u003c\/em\u003e at the Hayward Gallery, London, in 1996.\u003c\/p\u003e","products":[{"product_id":"jeffrey-spalding-abcs-of-pop-art-america-britain-canada-fsu-2000","title":"JEFFREY SPALDING — ABCs of Pop Art: America, Britain, Canada, Museum of Fine Arts FSU, 2000","description":"\u003cp\u003eJeffrey Spalding, \u003cem\u003eABCs of Pop Art: America, Britain, Canada — Major Artists and Their Legacy\u003c\/em\u003e. Museum of Fine Arts, Florida State University, Tallahassee, 2000. Square paperback; 64 pages, 21 × 21 cm; colour and black-and-white offset printing; metallic silver wrappers. ISBN 1-889282-07-3.\u003c\/p\u003e\u003cp\u003eA compact institutional survey of Pop Art organised alphabetically across artists from America, Britain and Canada. Reproductions are paired with short biographical and collection records, turning a sprawling movement into a sequence of discrete, easily circulated entries.\u003c\/p\u003e\u003cp\u003eFrom America: Andy Warhol, Roy Lichtenstein and Robert Rauschenberg anchor the canonical history, alongside Tom Wesselmann, Arman, George Segal, Robert Indiana, Chuck Close, Richard Estes, Claes Oldenburg, Jim Dine, Jenny Holzer, Alex Katz, David Salle, Wayne Thiebaud and David Gilhooly. From Britain: Richard Hamilton, Peter Blake and Eduardo Paolozzi as founding figures, with Patrick Caulfield, Allen Jones, R. B. Kitaj, Joe Tilson, Peter Phillips, John Latham, Bruce McLean, Tony Cragg and Michael Craig-Martin. From Canada: Iain Baxter, Michael Snow and Joyce Wieland as central figures, alongside David Buchan, Greg Curnoe, Gathie Falk, Dennis Burton, Attila Richard Lukacs, Tony Urquhart, John Will, David Gilhooly, Chris Cran and Russell Yuristy.\u003c\/p\u003e\u003cp\u003eThe design is particularly of its moment: metallic silver covers, red-and-blue consumer imagery, outlined typography and an interior somewhere between exhibition catalogue, directory and reference manual.\u003c\/p\u003e\u003cp\u003ePop Art reorganised as an alphabet. Artist, image, nationality, biography, collection: a movement broken down into portable units of information. The familiar American\/British history is expanded to include Canada, with figures including Iain Baxter, Michael Snow and David Buchan entering the same classificatory system as Warhol and Hamilton.\u003c\/p\u003e\u003cp\u003eThe publication does more than document a canon. Through selection, naming and adjacency, it participates in constructing one. Pop’s own mechanisms — reproduction, repetition, graphic shorthand and mass circulation — are used to package Pop itself. The artwork becomes reproduction. The artist becomes entry. The movement becomes index.\u003c\/p\u003e\u003cp\u003eCondition: Good to very good. Light rubbing and handling wear to the metallic wrappers, minor edge and corner wear and a few faint surface marks. Interior clean from inspection.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Museum of Fine Arts, Florida State University","offers":[{"title":"Default Title","offer_id":54216388477266,"sku":"SPALDING-MOAFAFSU-CAT-2000","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Spalding_Jeffrey.ABC_sofPopArt_America_Britain_Canada_MajorArtistsandTheirLegacy_Paperback_January1_2000.jpg?v=1786289051"},{"product_id":"douglas-gordon-24-hour-psycho-spellbound-hayward-gallery-bfi-london-1996","title":"DOUGLAS GORDON — 24 Hour Psycho, Spellbound: Art and Film, Hayward Gallery \/ BFI, London, 1996","description":"\u003cp\u003eProduced for \u003cem\u003eSpellbound: Art and Film\u003c\/em\u003e, Hayward Gallery, London, 22 February–6 May 1996, an ambitious collaboration with the British Film Institute marking the centenary of cinema. Curated by Ian Christie and Philip Dodd, the exhibition brought together Fiona Banner, Terry Gilliam, Douglas Gordon, Peter Greenaway, Damien Hirst, Steve McQueen, Eduardo Paolozzi, Paula Rego, Ridley Scott and Boyd Webb at a moment when the boundary between contemporary art and moving image was becoming increasingly unstable.\u003c\/p\u003e\u003cp\u003eThe recto is given entirely to a blue installation photograph of Douglas Gordon’s \u003cem\u003e24 Hour Psycho\u003c\/em\u003e (1993) — Hitchcock’s \u003cem\u003ePsycho\u003c\/em\u003e slowed to approximately three frames per second until the original film takes a full twenty-four hours to unfold. Reduced here from monumental gallery projection to a postcard image, one of the defining video works of the 1990s becomes portable.\u003c\/p\u003e\u003cp\u003eThe timing is particularly good. Gordon showed \u003cem\u003e24 Hour Psycho\u003c\/em\u003e at the Hayward in February 1996; later that same year he won the Turner Prize. Damien Hirst appears on the same card immediately following his 1995 Turner Prize win, while Steve McQueen — then still primarily encountered within contemporary art — would receive the prize in 1999. What now reads like an improbable roll call of established names was still a live configuration of careers in motion.\u003c\/p\u003e\u003cp\u003eFilm → appropriation → gallery installation → installation photograph → exhibition postcard.\u003c\/p\u003e\u003cp\u003eGordon takes Hitchcock out of normal cinematic time; Christie and Dodd place that altered cinema inside an exhibition concerned with the changing relationship between art and film; the Hayward then returns the installation to circulation as printed matter.\u003c\/p\u003e\u003cp\u003eOn the reverse, the image becomes administration again: dates, institutions, logos, curatorially assembled names and an unused postal field.\u003c\/p\u003e\u003cp\u003eNot quite catalogue. Not quite artwork. Not simply publicity.\u003c\/p\u003e\u003cp\u003eA printed object circulating at the exact moment \u003cem\u003e24 Hour Psycho\u003c\/em\u003e was moving from an already acclaimed installation into the canon of contemporary art — while Gordon himself was moving toward the institutional recognition that would define 1996.\u003c\/p\u003e\u003cp\u003eThe postcard survives that movement.\u003c\/p\u003e\u003cp\u003e10.5 × 15 cm · Offset-printed card on uncoated stock · Hayward Gallery \/ British Film Institute, London, 1996\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Very good. Light age toning and minor spotting consistent with period ephemera.\u003c\/p\u003e","brand":"Hayward Gallery \/ British Film Institute","offers":[{"title":"Default Title","offer_id":54365411115346,"sku":null,"price":125.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Gordon_Douglas.Banner_Fiona.Gilliam_Terryetal.Showinvite_spellbound_HaywardGallery.1996.jpg?v=1787532552"}],"url":"https:\/\/thenewrare.com\/collections\/eduardo-paolozzi.oembed","provider":"The New Rare","version":"1.0","type":"link"}