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independently but saw the final display as one environment. In highlights from a 1979 documentary by the architectural critic Reyner Banham, artists and architects who were involved recall the sense of excitement they felt over the collaborations; the constraints of cost—only £50 was assigned to each group for materials; and their sense of the importance of the show within the context of the establishment they opposed.
239:. The resulting work, "Patio and Pavilion", was a three walled structure with a corrugated plastic roof and surrounded by a sand patio. Found objects such as bike parts, a battered bugle and a clock without hands were strewn throughout the installation. In a country still recovering from war, the spare architecture offered an exploration of the fractured, but enduring presence of quotidian life during conflict.
211:, was designed by Hamilton for Group 2. A second poster, comprising intersecting arrows and swirls was designed by McHale and taken to the silk screen stage by Hamilton. McHale also supplied a third separate designed poster to Hamilton with an arrow, containing the formula E=MC2 which was a Pop art '"mass" consumer' reference to the
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is viewed as a groundbreaking exhibition because of the issues it addressed early that later became crucial in contemporary art, not simply the process of collaborative action, but the whole notion of creating an environment inside the art gallery. The ripples of influence it created 50 years ago are
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in New York. Frank
Cordell also installed the electronic amplifier and microphone enabling the ambient sounds from audience cybernetic feedback. The Senses panel with arrows featuring Tito was a joint collaboration between Hamilton and McHale, and the version reproduced in the catalogue was slightly
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This is modern art to entertain people, modern art as a game people will want to play. The sense of involvement and fun carries through in the press clippings; journalists were most taken by the fact that the show was opened by Robby the Robot, star of the sci-fi movie
Forbidden Planet and easier to
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exhibition included artists, architects, musicians and graphic designers working together in 12 teams—referred to as "groups"—an example of multi-disciplinary collaboration that was still unusual. Each group took as their starting point the human senses and the theme of habitation. Each group worked
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on 9 August 1956 and featured 12 exhibits within the show that featured collaborations between a variety of architects, painters, sculptors, and other artists. While each using their own style, they built pieces that represented their version of contemporary art. The result of the twelve groups was
200:, and changed the Guinness beer bottles and altered other visual details in the mural. McHale and Hamilton collaborated on the Spectrum diagram reproduced in the exhibition catalogue, and McHale later produced a modified version of this in his Man Plus section in his book on the
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75:, known for their meetings at the Institute of Contemporary Arts (ICA) in London with some overlap between the two groups. The 12 exhibits were each produced separately and were independent of each other. After
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different in wording to alter the optical perception of viewers. Hamilton later produced a third version depicting the Senses panel in an interior collage depicting the TIT, but he changed the face to
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came up with the idea of mounting a large scale collaborative show at
Whitechapel Gallery. By 1955 the participants were roughly divided into two camps; Constructivist, and the
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relativity formula. But
Hamilton chose not to collaborate on the third poster, and expend the 'creative "energy"' to bring the E=MC2 to final completion at the TIT.
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A good deal of the visual material was provided by John McHale when he returned in late May from his academic year-long fellowship at Yale page 139, David
Robbins,
255:. McHale wrote the text for the page Are they Cultured? and it was intended to be featured with the McHale-designed collage that got mispaginated in the catalogue.
483:
A photo of the Dazzle Panels produced by John McHale is provided on page 139 of The
Independent Group by Robbins, and a description is provided in Warholstars
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Projectors, gramophone motors for moving the
Duchamp rotoreliefs, film posters, and probably the juke box, were supplied by Frank Cordell, Robbins page 139
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from 1950 to 1955 and then the Royal
College of Art, designed the catalogue for This Is Tomorrow. Theo Crosby found the money for it, and it was printed by
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Jobse, Jonneke. "De Stijl
Continued: The Journal Structure (1958-1964) an Artists' Debate", 010 Uitgeverij; 01 edition (Sept. 2005): 323-324.
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poster image and a 'CinemaScope' collage mural design, and the design of the Pop art collage poster that were all provided by John McHale.
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opened nearly a thousand people a day saw the exhibit. The catalogue for the exhibit, designed by
Independent member and graphic designer
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the discussions... are really the point of the collaboration... the exhibition will not be a collection of miscellaneous art works.
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is now considered a watershed in post-war British Art and in some respects kick started the development of the British arm of
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273:. The director of Lund Humphries, Peter Gregory along with Peter Watson were among the original founding patrons of the ICA.
578:""Pop in the Age of Boom: Richard Hamilton's 'Just what is it that makes today's homes so different, so appealing?'""
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items, the juke box, and installing the film projector, and installing the Duchamp rotor discs given to McHale by
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the attempt to evoke a variety of external environment through theories that were inspired by communications guru
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Highmore, Ben. "Rough Poetry: ‘Patio and Pavilion’ Revisited." Oxford Art Journal 29, no. 2 (June 2006): 269-290.
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The exhibition's most remembered exhibit was the room created by Group 2, comprising
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Grieve, Alastair. "This Is Tomorrow, A Remarkable Exhibition Born From Contention."
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cost five shillings, a high price for 1956, sold out and had to be reprinted.
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on Whitechapel High Street in London's East End, UK, facilitated by curator
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Frank Cordell assisted McHale with accessing the film posters such as
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Just What Is It that Makes Today's Homes So Different, So Appealing?
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is considered to be the forerunner of the British Pop Art movement.
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was nearly two years in the making, after architect and art critic
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Highmore, Ben. "Rough Poetry: ‘Patio and Pavilion’ Revisited."
678:"Tate Britain | Past Exhibitions | William Turnbull"
414:, Michael Pine (CMHC Ottawa architect), Richard Matthews
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was a collaborative art exhibition that opened at the
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Godfrey, Tony. "Days Like These; This Was Tomorrow."
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designed the exhibition guide. The graphic designer
305:were recreated in 1990 for an exhibition at the
833:History of the London Borough of Tower Hamlets
8:
247:The exhibition catalogue featured essays by
158:poster, a film advertising billboard of the
31:was an art exhibition in August 1956 at the
143:dazzle panels, collage Space modules, and
39:. The core of the exhibition was the ICA
288:. The 1977 song "This is Tomorrow" from
265:(1912–88), who taught typography at the
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227:Group Six was composed of architects
107:As Banham stated in his documentary:
63:, as well as symbols of pop culture.
7:
792:Reproduction of exhibition catalogue
730:Banham, Reyner. "This Is Tomorrow."
187:(1953) for the collage murals, the
553:. 21 November 2008. Archived from
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90:Crosby writes on 8 June 1955 that
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755:29, no. 2 (June 2006): 269-290.
307:Institute of Contemporary Arts
19:For the Bryan Ferry song, see
1:
734:no. 136 (Spring 2011): 32-34.
357:Group Four: Anthony Jackson,
354:, James Hull, Leslie Thornton
16:Art exhibition in August 1956
785:discussing the exhibition,
748:136, (April 1994): 225-232.
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575:John-Paul Stonard (2007),
313:Artist teams in exhibition
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818:Art exhibitions in London
741:145, (May 2003): 381-383.
391:Alison and Peter Smithson
229:Alison and Peter Smithson
110:book than Marilyn Monroe.
804:, MACBA: Barcelona, 2009
131:, though with help from
104:still being felt today.
781:, from an interview by
595:The Burlington Magazine
217:mass-energy equivalence
56:Whitechapel Art Gallery
33:Whitechapel Art Gallery
21:This Is Tomorrow (song)
47:History and philosophy
441:Colin St. John Wilson
267:Central School of Art
154:poster, the Van Gogh
590:on 25 February 2009.
496:Aesthetics of Plenty
259:Colin St John Wilson
243:Catalogue and guides
202:Future of the Future
198:Pierre Mendès France
746:Burlington Magazine
739:Burlington Magazine
658:on 21 November 2008
652:Thisistomorrow2.com
628:on 21 November 2008
622:Thisistomorrow2.com
557:on 21 November 2008
531:on 21 November 2008
207:The Pop art poster
783:Hans-Ulrich Obrist
774:2012-02-06 at the
753:Oxford Art Journal
139:. It included the
352:J. D. H. Catleugh
73:Independent Group
41:Independent Group
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779:Richard Hamilton
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407:, Helen Phillips
387:Eduardo Paolozzi
363:Emilio Scanavino
338:Richard Hamilton
328:William Turnbull
303:This Is Tomorrow
282:This is Tomorrow
253:Lawrence Alloway
233:Eduardo Paolozzi
189:Forbidden Planet
174:beer bottles, a
160:Forbidden Planet
121:Richard Hamilton
101:This is Tomorrow
96:This Is Tomorrow
85:This is Tomorrow
77:This is Tomorrow
65:This is Tomorrow
61:Marshall McLuhan
52:This is Tomorrow
28:This Is Tomorrow
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648:"033Tt-1956"
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630:. Retrieved
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618:"029Tt-1956"
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559:. Retrieved
555:the original
551:"025TT-1956"
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447:Adrian Heath
433:Robert Adams
417:Group Nine:
373:Anthony Hill
367:Group Five:
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291:In Your Mind
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682:Tate.org.uk
437:Frank Newby
431:Group Ten:
423:Mary Martin
385:Group Six:
369:John Ernest
342:John McHale
336:Group Two:
320:Theo Crosby
318:Group One:
296:Bryan Ferry
129:John McHale
69:Theo Crosby
812:Categories
692:13 January
662:13 January
632:13 January
471:References
451:John Weeks
427:John Weeks
156:Sunflowers
769:Pop Daddy
301:Parts of
148:readymade
772:Archived
172:Guinness
732:October
286:Pop Art
223:Group 6
215:famous
168:Jukebox
145:pop art
115:Group 2
561:29 May
535:29 May
502:
277:Legacy
141:Op Art
588:(PDF)
581:(PDF)
166:, a
150:of a
694:2022
664:2022
634:2022
563:2023
537:2023
500:ISBN
425:and
251:and
235:and
135:and
127:and
94:The
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