On Dover Street, “This is Today” Looks Back at Last Century’s Visions of Tomorrow
Become a lender to the next major Whitechapel Gallery exhibition Eduardo Paolozzi. This work will be featured in Whitechapel Gallery’s major retrospective of Eduardo Paolozzi (1924-2005) to be presented 16 February – 14 May 2017. It was once published on the cover of Studio International, journal of modern art in October 1971. Paolozzi was one of the most innovative and irreverent artists of the 20th century. Considered the ‘godfather of Pop Art’, his collages, sculptures and prints challenged artistic convention, from the 1950s through to the Swinging Sixties and advent of ‘Cool Britannia’ in the 1990s. The major retrospective will span five decades and feature over 250 works; from the artist’s post-War bronzes, revolutionary screen-prints and collages, to his bold textiles and fashion designs.
Your name will be credited as a lender to the exhibition on the work wall label, and you will be invited to the VIP opening reception at the gallery.
Please note this work will be presented as part of the upcoming exhibition at Whitechapel Gallery, 16 February – 14 May 2017 and available for collection after this point.
Image rights: Courtesy Whitechapel Gallery
Publisher: Studio International, London (Cover for October issue 1971)
Listed in Rosemary Miles (ed.), The Complete Prints of Eduardo Paolozzi, V&A London 1977, as no. 98.
Fascinated by modern machines and technology, Eduardo Paolozzi produced graphic art, collages, pottery, films, mosaics, and sculptures inspired by industrial engineering. His early bronze sculptures of anguished human figures incorporated impressions made by machines as well as found objects, synthesizing them to evoke new associations. This later developed into a new process of piecing together works from prefabricated aluminum and brass casting molds; the resulting geometric human forms have often been described as “totems for the technological age.” Crucially, Paolozzi came to embrace technology rather than perceiving it as a demon to be feared, and wrote and lectured extensively on how popular culture and science should inform sculpture. He is often cited as an important exponent of Surrealism in Great Britain, as well as an influence on Pop Art.
Scottish, 1924-2005, Leith, United Kingdom, based in London, United Kingdom