Art criticism by E. Waller on:
Richard Hamilton: The Modern Moral Matters (3rd
March - 25th April 2010.) [visited 8/04/10]
Admission Free:
'The media's hunger for images to permanent
frozen form, on pause to further speculate what we
are looking at'. The media is the 'instant view', our
eyes, ears and thought process. Indulgent
machismo in something and then nothing.
The Orwellian tradition still holds. We are frozen in
debate, self-crticism not included against the
establishment?.
The spatial sensitivities of the placement of
evocative imagery cultivate the emotions of humans
in the tiny arena of a gallery, laugh and you are
condemned, think and it hurts, note we do not look
down in shame; the world of propaganda of hateful
contrition; we are awaiting our interrogation. The
still, apparatus of the state challenges the frontal
lobes of our minds. The apparatus is us, the
imagery the artist's and the frozen scent of
unacceptable history. Cannot the world understand
us the apparatus, the downward glance never
happens we are complicit in the message and the
messenger, whatever political endeavour we have
made we are not made of this. The fragmentation of
history into a sound bite and inescapable truth of
moment of conclusions come to the consequential
traps of irrational behaviour.
Hate of honesty of a second, the milli chip of reality
to one person world and action. hateful contrition
of issued alliance of method and and the pop
regularity condemns everything in medium, We are
aware, unmoved with normal sensory overload; the
media, and not Richard Hamilton, are our 'real'
emotions.
So what does he really achieve?
It is not awareness but the medium, the media
image, the repetition of sins in different genres,
technologies and forethought arranged, analysed
sameness of image to a media, or genre of Richard
Hamilton. As a story teller of a second by second
telling/timing, and time without.
The 1950s onwards brought Richard Hamilton
aware of the communication of technology, the
media object, illusion of emotion, sensationalism
and he uses it - Leftist, apolitical, political activist
and popist, We can try but fail at being understood
(is our anger). Even the biggest men (Blair and
Gateskill) can only understand and cheer their
character as a personal journey for questions out of
their control, the lack of consequence harbours
their (our) fearful behaviour of want, and forgiving
nature to oneself or not.
Space our matrix, our output in it, our spatial
sensitivities conjured by the curator is forethought,
placement of a message. The alliance in method
and message, does this help our heady thoughts of
medium, our weak human skill at looking at art.
the 'Pop' regularity of hilarity at everything, an
outward hate of inward emotion. Richard Hamilton
is the inevitable calling of impotence and
helplessness. Devastation hark and the law of
fortune is upon us. Our innocence, conniving minds
correlates, disassociates and engages us in
confusion there can be no answer to iconism
eclipsing image above message.
This is more emotional without the conspiracy
theory of how the media controls us and how we
think. Bare in mind 'agree or move on' has no
hesitancy. A frozen image that says its all and
nothing of the plot, the stage, the theatre brings a
consequence to the irrationality of actions. Scarred
imagery and in harms way, naked, vulnerable to
every feat, insult, consciousness leaves an
inescapable helplessness, We are inept. We are
interrogating images, us and who we cannot be in
them. Manipulation of imagery is our spatial
awareness, the messages come from us and hardly
indent onto the pictures.
All belief is charged against 'au contrary' the
elemental emotion transgressing the elemental
truth and situationism that we put ourselves in.
Frozen is truth, frozen is situation, frozen is our
minds in the cosmos of emotion; imagery of
desparate scenery. Frozen is us in emotion the
image is, our thoughts are the images themselves
for the second telling.
Benign as the exhibition is fearful, but then so is
our memory and we go out to have a good walk, a
cup of tea and later sitting in front of the television
again...start again.
Is a human response what Richard Hamiliton wants,
I am not so sure. These are 'collaboratory and
participatory art, pedagogical experiments'.
As I say what a few words say!
Serpentine Gallery, Kensington Gardens, London W2
3XA..
Art critic: E. Waller
About Richard Hamilton: Modern Moral Matters,
1950's to 2010
