Art criticism by E. Waller on:
Richard Hamilton: The Modern Moral Matters (3rd March - 25th April 2010.) [visited 8/04/10]
'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