The early 'Pop' works still have a freshness and vitality which must have hit like a fluorescent neon disco when it was revealed and Interiors I and II with their use of reflections are brilliant iconic examples of Hamilton's Draughtsmanship .
|You need to see this in the flesh to appreciate the chair.|
As well as the humour the work's insight into consumerism exhibits there's a far more political passion than I had anticipated before seeing his work collectively. I have seen The Citizen many times at Tate Britain but when it is hung with the other works related to Northern Ireland it's message can not be avoided.
The Blair of 'Shock and Awe' is a powerful swipe at the recent Middle Eat adventures and Maps of Palestine makes the case against the Israeli land grabs that have followed the 1967 war clear and unambiguous -
On his place within artistic firmament his work often speaks for itself although his admiration for Duchamp is perhaps at a more philosophical level then majorly influencing his own style and output.
[Such was the artistic debt that Hamilton felt he owed to Duchamp required him to painstakingly recreate The Bride Stripped Bare by her Bachelors in 1965.]
Although he was rejected at an early stage of his career for not benefiting from teaching once he became appreciated within the Art world Hamilton used his position to champion the next wave of Pop Art which included Hockney and Blake and he was a valued teacher to one of Pop's (music) most aesthetic figures Bryan Ferry.
Passage of the Bride reminded me of David Hockney and the Polaroids and multiple Jagger and Monroe prints show a relationship to what Warhol was also examining in Pop (arts) heyday.
[The exhibition is on until Mid May at Tate Modern]
|Hamilton's Passage of the Bride|