Richard Hamilton

Museum Ludwig

Early on in his career Pop-art midwife Richard Hamilton decided two things: First, he was determined not to simply produce artworks; second, he would, as he puts it, “control the context.” “I often feel, as Marcel Duchamp did before,” the British artist once remarked, “that a single work doesn’t mean very much. An innocent observer isn’t going to be able to make head or tail of a painting in isolation. It isn’t until things are put together and related as sequences of ideas that they begin to make sense at all.” With these words Hamilton articulated the motivations behind the extraordinary series of exhibitions he organized or helped organize in the 1950s. In “Growth and Form” (1951), “Man, Machine and Motion” (1955), and, most famously, his installation in the Independent Group’s “This Is Tomorrow” (1956), he blurred the distinction between artist and curator. As Kasper König, director

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