Sorry, the publication can not be displayed.

THE DEFINITIVE GUIDE TO MODERN BRITISH ART © RICHARD HAMILTON. ALL RIGHTS RESERVED, DACS 2008 ICA gets stuck In 1968 the ICA, the forcing house of the avant garde, moved to its new home in The Mall, lost its way and, seemingly, never looked forward again. Founded in the basement of an Oxford Street cinema in 1947, primarily by the anarchist poet Herbert Read, its remit was to be anti-Royal Academy and a thorn in the side of the Establishment. One “happening”, Oh What a Lovely Whore, invited the audience to smash up a piano. This was followed by an exhibition of chimpanzees’ paintings. Later, an exhibition featuring a porn model called Cosey Fanni Tutti had to close because it was deemed indecent. Since? The ICA, stuck in gentleman’s clubland, missed out on the Damien Hirst revolution, and the only shock was when Ivan Massow, a recent chairman, attacked conceptual art as “pretentious, self-indulgent craftless tat”. ALAMY Table — Allen Jones Jones’s women are part of the furniture Being expelled from the Royal College of Art, where he was a contemporary of Hockney, proved no bar to success for Allen Jones. Not only did he immediately land a job as a teacher at Croydon College of Art, but he also quickly established himself as one of the most distinctive of his generation’s Pop artists. Inspired by a very Sixties blend of Nietsche, Freud and Jung, in 1969 he produced three instantly recognised glam-erotic furniture sculptures — Table, Chair and Hatstand — really plastic models of semi-naked women that played on the taboos associated with fetishism. Unsurprisingly, although the Tate and other museums bought his work, some women were outraged. Spare Rib, the feminist magazine of the day, said that the combination of fetishising women and downgrading them to pieces of furniture was typical of the undeveloped male mind. However, the sculptures have transcended the feminist politics of the Seventies to become icons of their time. Recognised worldwide, these works have influenced a subsequent generation of artists and designers. Stanley Kubrick copied these furniture sculptures for scenes set in the Korova Milkbar in his 1971 film of Anthony Burgess’s novel A Clockwork Orange. The ICA Op Art creates an illusion The warping black-and-white flows of geometry that emerged from the studio of the well-bred ex-Cheltenham Ladies College pupil, Bridget Riley, were to become some of the most defining images of the decade. This was Op Art — the exploitation of optical illusion — and Riley, now aged 77, has stayed true to the style (she discovered it in the US) ever since. Her only concession was to start experimenting with colour in the Eighties after visiting Egypt. When her first paintings were shown, with spare titles such as Fall, Blaze and Current, some viewers complained of feeling seasick. It has been speculated that Riley was fired to paint such apparently cold and calculating images because of a failed love affair. Her own explanation is that she became fascinated by how 19th-century pointillists created illusion in the course of researching optical effects while she was working in the art department of a London advertising agency. GETTY aling? — Richard HamiltonDu Bridget Riley so different, so appealing exhibition This is Tomorrow at the Whitechapel Gallery, the work has retrospectively been called the first piece of Pop Art. A decade on and he did it again, curating the first and, to date, only British retrospective of Duchamp at the Tate in 1966. He spent a year making The Large Glass, a reconstruction of Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even, a glass diagram of a lovemaking machine. The upper part is dominated by the bride, whose imagined “blossoming” is represented by a pink cloud. In the lower part, nine dressmaker’s models, or “malic moulds” (a pun on “male” and “phallic”) symbolise the Bachelors. Duchamp thought it so good that he signed it. Other important works include a portrait of IRA hunger striker Bobby Sands on “dirty protest” in jail, and Swingeing London, a painting inspired by news photographs, of Mick Jagger in handcuffs after being arrested for drugs. This led to The Beatles hiring Hamilton to make the cover for their 1968 White Album. He designed a white blank for them. Hamilton had also been Bryan Ferry’s teacher in Newcastle a few years before and his influence can be found in the visual styling and approach of Roxy Music. Unsurprisingly, he calls Hirst’s work “old hat”. He says: “It’s all been done before.” Hockney’s national treasures The boy from Bradford, though an early pop artist, became one of Britain’s best-loved figurative and landscape painters, but only after he fled to California and produced a series of sumptuous light-filled paintings of his swimming pool, notably A Bigger Splash (1967). Explaining the missing swimmer, Hockney said: “I loved this idea; it takes me two weeks to paint this event that lasts for two seconds.” He was always beautifully dressed, wore showy spectacles, possessed a Boris Johnson-style mop of yellow hair, never dropped his broad Yorkshire vowels and was openly homosexual. This turned Hockney into an art celebrity and a national treasure, confirmed when he was given the rare honour of being made a Companion of Honour in 1997. A skilled draughtsman, he has experimented with new media, notably photography and photo collages, but has remained a staunch defender of painting. He is also immensely publicspirited. Though his work commands huge prices — The Splash, another swimming pool work, sold for £2.9 million two years ago — he recently hinted that he may gift many works to the nation on his death. This year, he gave the largest picture he has painted — 50 canvases measuring 40ft across, making up a Yorkshire landscape called Bigger Trees Near Warter — to the Tate. © ALLEN JONES, 1969 THE DEFINITIVE GUIDE TO MODERN BRITISH The Daily Telegraph Saturday, October 25, 2008 telegraph.co.uk /gordonsgin In association with The envy of the art world F ROM Hockney and Hirst, to Bridget Riley and Tracey Emin, the past 50 years of British art have been a roller-coaster ride of styles and tastes, coloured along the way with stunts and hoaxes, rows and fights and a good many eccentrics. This supplement, the second in a se 60 I t wasn’t just London’s King’s Road that was swinging. Emerging from the post-war austerity years, British art was in the vanguard of change as youth demanded that its voice (and tastes) be heard. The new art was a giddy mix – Pop Art, Op Art, a fresh wave of abstraction, art “happenin THE DEFINITIVE GUIDE TO MODERN BRITISH ART © RICHARD HAMILTON. ALL RIGHTS RESERVED, DACS 2008 ICA gets stuck In 1968 the ICA, the forcing house of the avant garde, moved to its new home in The Mall, lost its way and, seemingly, never looked forward again. Founded in the basement of an Oxford Stre 70 E verything and anything seemed possible. Conceptualism flourished, as did performance art, and artists could be Post-minimalists, Neo-expressionists, Installationists, or even Neoists specialising in pranks, fakes, plagiarism and paradoxes. The careers of the big-name painters – Hockney, Bacon THE DEFINITIVE GUIDE TO MODERN BRITISH ART Moments of Decision/Indecision, 1975 — Stuart Brisley Brisley gets grisly In an era of eccentric British performance art, Stuart Brisley was the godfather. His 1972 work 10 Days, performed in Berlin, involved sitting at a table for 10 days. The food he ADVERTISEMENT FEATURE Our own little works of art At Gordon’s, we take our image seriously. After all, we have an unrivalled heritage to protect... That’s why, over the years, we’ve worked with some of the most talented ad designers, photographers and stylists to tell the story of our brand a aDVERTISEMENT FEATURE 1962 1972 2004 2008 80 G rowth, growth, growth. This is the decade when British contemporary art began to become serious business and London could start to mount a challenge to New York as “capital of cool”. More widespread public interest, and yuppies with cash in their pockets thanks to Mrs Thatcher, meant YBAs c THE DEFINITIVE GUIDE TO MODERN BRITISH ART C-PRINT, 152.4 X 121.9 CM, EDITION OF 3, ©SARAH LUCAS, COURTESY SADIE COLES HQ, LONDON Kapoor goes large He has been called the new Henry Moore, though his sculptures are more monumental still. Anish Kapoor, the Indian-born but Britishbased artist, rose 90 W illiam Wordsworth, a century before, could not have put it better. “Bliss it was in that dawn to be alive, But to be young was very heaven!” he wrote in The Prelude. And for Damien Hirst, Tracey Emin, Rachel Whiteread, the Chapman Brothers, Antony Gormley and Marc Quinn (they were not all f THE DEFINITIVE GUIDE TO MODERN BRITISH ART © DAMIEN HIRST. ALL RIGHTS RESERVED, DACS 2008 Space Girl and Bird — Banksy Laughing all the way to the Banksy In the Nineties, uncommonly witty graffiti slogans and paintings appeared overnight in Bristol, London, then the world. Most are attributed © MARC QUINN, PHOTO: MARC QUINN STUDIO, COURTESY JAY JOPLING / WHITE CUBE (LONDON) 00 rt is the cherry on top of capitalism,” Dinos Chapman, one half of the Chapman Brothers, the artists best known for creating child mannequins sprouting genitalia, declared recently. For those who needed it ramm THE DEFINITIVE GUIDE TO MODERN BRITISH ART Now, and into the future PHOTO COURTESY THE ARTIST AND VICTORIA MIRO GALLERY, LONDON © GRAYSON PERRY Win £500 to spend on art, plus a year’s supply of Gordon’s Feel inspired by this romp through the defining moments of modern art? Then enjoy a piece