The Independent Group~ Postwar Britain and the Aesthetics of Plenty

II Edited by David Robbtris

I
Exhibition Organized by Introduction by Essays by
Hood Museum of Art, Dartmouth College .Jacquelynn Baas Lawrence Alloway
Wstitute ofContemporary Arts, London lbeo Crosby
The Museum ofContemporary Art, Lo~ Angeles Chronology by Barr-r, Curtis
University Art Museum, University ofCalifomia at Berkeley . Graham Whitham Diane Kirkpatrick
. David Mellor
I

I
David Robbins
Denise Scott Brown
I!
Alison and Peter Smithson
David Thistlewood
! Retrospective Statements by
·1 Lawrence Alloway
! MaryBanham
Richard Haniilton
Geoffrey Holroyd
I
·1
~ Magda Cordell McHale
Dorothy Morl~d
Eduardo Paolom
Toni del Renzi~
Alison and Peter Smithson
\ James Stirling
William Turnbull
Colin St. John Wilson

Ii
I
!'

I
Jhe MIT·Press
.
I .
Cambridge. Massochusetts,\a~d London, Enaland
 This publication accompanies the exhibition,

The Independent Group: Postwar Bri tain and the Aesthetics of Plenty

February 1- April 1. 1990

Insti tute of Contemporary Arts. London

May 16 - September 16, 1990

Instituto Valenciano de Arte Moderno (IVAM), Centro Julio Gonzalez, Valencia

November 4, 1990 - January 13, 1991

The Museum of Contemporary Art, Los Angeles.

February 6 - April 21, 1991

Universi ty Art Museum, Universi ty of Cali forriia at Berkeley

June 8 - August 18, 1991

Hood Museum of Art, Dartmouth College. Hanover, New Hampshire

Organize~. by the Hood Museum of Art, Dartmouth College, Hanover, New Hampshire;

the Insti tute of Contemporary Arts, London; The Museum of Contemporary Art, Los Angeles;

the Universi ty Art Museum, University of California at Berkeley.

Organizing commi t tee for the catalog\le and exhibi tion: Jacquelynn Baas (Director. UAM. Berkeley) , Mary Jane Jacob,

James Lingwood (Adjunct Curator. ICA,. London) • David Robbins, Timothy Rub (Assistant Director, liMA. Hanover).

Elizabeth Smi th (Associate Curator. MQCA, Lps Angeles), and Graham Whi tham.

Edi ted by David Robbins wi th Barbara Anderman, Brenda Gilchrist, and Sheila Schwartz

Designed'by Lorraine Wild,' Los Angeles

Typeset in Clarinda and Joanna by Continental Typographics. Chatsworth, California

Printed by Donahue Printing Co. , Inc. , Los Angeles

Copyright © 1990 The Regents of The University o'f California.

, , Richard Hamil ton retrospecti ve statement" • , Copyright C Richard Hamilton;

• 'Learning from Brutalism " . Copyright C 1990. Denise Scott Brown.

The Independent Group is made possible by generous grants from the National Endowment for the Humani ties and the National Endowment

for the Arts, Federal Agencies. Support for this project was also provided by David Hockney and by The Bri tish Council.

Library of Congress Cataloging-in-Publication Data

Thelndependent Group: postwar Britain andthe aesth~tics of plenty I edi ted by David Robbins.

p cm.
EXhibi tion organized by the Hood Museum of Art, Dartmouth' College ... [et a1. J held between February 1. 1990
and August 16. 1991 at va~ious locations.
"N.u~-';:lt{"\.o(;;:l ~\,~~1 ~<~;$:-t-tt.: Includes bibliographical references .

.ir t ! .,i",;t. Libn.1'T ISBN 0-262-18139-8 (MIT Hardcover Edi tion)

8t&1c,';j;~:;t\. ~1l 1. Independent Group (Association: Great Bri tain )-Exhibi tions. 2. Art. Modern-20th century-Great Britain-Exhibi tions.
11. Jjmt16, II). ~1.~ 1. Robbins, David. 1937- I I . Hood Museum 0 f Art.
N6766 _5 .153153 1990

, . 709' .41'074-dc20 89-43668 CIP

Table of contents

6 Foreword and acknowledgments 18 7 Retrospecq.ve Statements

Lawrence Alloway
10' IDtroduction by Jacquelynn Baas Mary Banham .
Richard Hamilton
12' Chropology by Graham Whitham Geoffrey Hokoyd
Magda Cordell McHale
49 The Independent Group and the Aesthetics ofPlenty Dorothy Morland
by Lawrence Alloway , Edj.lardo Paolozzi
Toni del Renzio
'55 Sources Alison and Peter Smithson
ModerniSt Sources James Stirling
American Ads William Turnbull
Sdence Fiction Colin St. John Wilson

63 Works in This Exhibir10n 197, Night Thoughts ofa Faded Utopia

Magda Cordell by Jacquelynn Baas by Theo Crosby
Richard Hamilton by Graham Whitham
Nigel Henderson by James Lingwood 291 The '~ Found" and the "Found"
John McHa,le by Jacquelynn Baas by Alison and Peter Smithson
Eduardo Paolozzi by David Robbins
Alison and Peter Smithson by David RObbins 203 Learning from Brutalism
William Turnbull by Graham Whitham by Denise Scott Brown

123 Exhibitions by Graham Whitham 207 The Artists ofthe IG: Backgrounds and Continuities
Parallel of Life Oild Art (1953) by Diane Kirkpatrick
Man, Machine and Motion (1955)
This Is Tomorrow (1956) 213 The Independent Group and Art Education in Britain ,1950-1965 by David Thistlewood
an Exhibit (1957)
221 - From: Ivory To;wer t;' Control Tower by Barry Curtis
162 Selections from Critical Writings
Lawrence Alloway 229 A "Glorious Techniculture" in Nineteen-Fifties Britain:
Reyner Banham The Many Cultural Contexts ofthe Independent Group by David Mellor
Toni del Renzio
Richard Hamilton 237 The Independent Group: Forerunners ofPostmodernism? by David Robbins
John McHale
Eduardo Paolo7.Zi 247 Appendix: An Account ofthe 1955 IG Meetings
Alison and Peter Smithson
249 Bibliography
 The 'As Found' thetic" of all our "Ouster" ideograms, diagrams and theories. which we took
first to ClAM 9 at Aix-en-Provence. then to La Sarraz, and finally to OAM 10 at
and the ' Found' Dubrovnik.
Alison and Peter Smi thson
The' 'As Found' , in Exhibi tions;
Seen from the Late 19806;
Nigel Henderson made up the quartet with ourselves and Eduardo Paolozzi
The "as found," where the art is in the picking up, twning over and putting­
that manifested our intellectually different aspect ofthe Independent Group.
with....
This difference - even to a certain apartness - can be seen in our exhibition
and the "found," where the art is in the process and the watchful eye....
Parallel of Life and Art of 1951; which although mounted in the front room at
the leA, had nothing to do with the Independent Group also meeting in that
Wi th Hindsight ... The • •As Found' , in Archi tecture:
room. In willing the exhibition to happen, developing its idea, and during its
In architecture, the "as found" aesthetic was something we thought we
making. our meetings with Nigel and Eduardo were often excruciatingly
named in the early 19505 when we first knew Nigel Henderson and saw in his
funny. esped.ally in word play and cross reference:~ Our shared values - of
photographs a perceptive recognition ofthe actuality around his house in
not needing to say again what had been adequately said by their "inventor" ­
Bethnal Green: children's pavement play-graphics; repetition of"kind" in
were bodied out by the sense ofa continuity parallel to that ofthe heroic
doors used as site hoardings; the items in the detritus on bombed sites, such
period ofmodem architecture, flowing througlI Nigel; from the Blootnsbury
as the old boot, heaps ofnails, fragments ofsack or mesh and so on.'
Group. from Paris ofthe 19305 and 194QS, from Marcel Duchamp, from early
Setting ourselves the task ofrethinking architecture in the early Dubuffet and so on ....
19505, we meant by the "as found" not only adjacent buildings but all those Again, our Patio and Pavilion of 1956 had nothing whatsoever to do
marlcs that constitute remembrancers in a place and that are to be read with the Independent Group but was part ofthe This Is Tomorrow exhibition
through finding out how the existing built fabric ofthe place had come to be that grew out ofa series ofmeetings in Bill Scott's studio in dIarlotte Street ­
as it was. Hence our respect for the mature trees as the existing "structuring" the tail end of the Euston Road Group? - to do with a vague English inher­
ofa site on which the building was to be the incomer.... As soon as archi­ ited belief that the arts should be able to again collaborate as in the Renais­
tecture begins to be thought about its ideogram should be so touched by the sance. The initial discussiOns, with people'stacked up in a wonderful
"as found" as to make it specific-to-place. Edwardian way, were long, contentious. The studio venue changed once, as
Thus the "as found" was a new seeing ofthe ordinary, an openness those attending gathered, to the adjacent top floor studio; the personnel 20
as to how prosaic "things" could re-energise our inventive activity. A con­ changed dramatically, the originators virtually all dropping out. We stuck
fronting recognition ofwhat the postwar world actually was like. In a sodety with the discussions - as did John Weeks and Erno Goldfinger, who had
that had nothing. You reached for what there was, previously unthought of been their artist's choice from the start - and once Theo Crosby appeared
things.... In tum this impressed fordbly - seen in the coat ofwhite paint and agreed to organise it, rounded up all the architects we knew o( including
that "renewed" the ship. 1957 - how the new could re-energise the existing Michael Pine who worked in plaster, so that each group had an architect.
fabric. Catleugh might have been Theo's contact.
We were concerned with the seeing ofmaterials for what they The This Is T(}IIJOIroW exhibition at Whitechapel Art Gallery was only
were; the woodness ofwood;> the sandiness of sand.! With this came a dis­ possible through Theo Crosby's willingness to undertake the organisation;
taste ofthe simulated, such as the new plastics ofthe period - printed, col­ his position at Architectural Design offering the necessary contacts for materials
oured to imitate a previous product in "natural" materials. Dislike for certain and so on, since nobody had any money. Our Patio and Pavilion answered a
mixes, particularly with technology. such as the walnut dashboard in a car. "programme" ofour own making, offering a definitive statement ofanother
We were interested in how things could be with technology touching every­ attitude to "collaboration"; the "dressing" ofa building, its place, by the "art
thing and everyone. We foresaw a general reappraisal ofvalues would occur, ofinhabitation." We were taking position in the acquisitive society as it
since as we "read" through the aspiration-images on offer in the magazines. began its run. by offering in a gite a reminder ofother values, other plea­
the approach ofthe acquisitive soctety. sures.s With the transparent roof ofthe pavilion made to display Nigel's
Our reaction to the 1940s - for us "design" was a dirty word tried arrangement ofthe "as found," the sand surface ofthe patio (ultimately) ch0­
never to be negative. By "taking position" we rejected the then fashionable, sen to receive Nigel and Eduardo's tile and object arrangement, the rellective
but for us too simple, literal and literary attitudes, represented for sodalist­ compounding walls to include every visitor as an inhabitant, the "art ofthe as
minded intellectuals by the writings ofHerbert Read. We were the generation found" was made manifest. The complete trust in our collaboration was
stepping aside from politics as no longer appropriate to our needs. All this proved by our Patio and Pavilion being built to our drawings and "inhabited"
was an intellectual activity, extending to a care for "literacy" in the language by Nigel and Eduardo in our absence, as we were camping on our way to
ofarchitecture. We worked with a belief in the gradual revealing by a OAM at Dubrovnilt.
building-in-formation onts own rules for its required form. This Is Tomorrow turned out to be the quartet's final joint "as found"
The "as found" aesthetic fed the invention of the "random aes­ manifestation.

S II I T H SON
 In Sculpture; Looking back to the 19405 and 1950& - the period ofDubuffet and
Through other powerful influences, the idea ofarranging metal things Pollock - the image was discovered within the process ofmaking the work. It
"found" was taken up in sculpture - to run - and run - and maybe it still has was not prefigured but looked-for as a phenomenon within the process.
to run. Now, nearly forty years later, does it any longer have such an ener­ As an art activity this was something new, since the "found objects"
gising or revitalizing power? Around us again, no intellectual process seems for Marcel Duchamp were ofthe previous period and were once "made"
involved in parallel; we see no reappraisal- ofsociety, or meaning, or what­ objects. That is, the objects "discovered" and transformed into art objects
ever - coming to formal presence; no new position bE'ing taken with respect were originally made in the mind by an artisan or engineer. then drawn or
to the immediately previous generation; no reaction occurring to parallel sketched or modeled, then prototyped and so on, follOwing the whole tradi­
phenomena outside the discipline. The "as found" schooI appears to be as a tional process ofinvention and perfection. And as the stock ofmade-objects
stuck gramophone needle: maybe as outdated as that image. is continuously renewed by the activities arising from the different needs,
intelligences and sensibilities ofeach period, the art activity ofwit-and-eye
In Polemic: founded on these objects can continue.
At one time in 1954-55 it was agreed that our quartet would all collect snip­ Current graphic art treats in this wit-and-eye way the painting ofthe
pets out ofnewspapers or magazines oflines and phrases that struck us as past which was always prefigured - that is, first made in the mind. But in
demonstrating the son ofnonsensical "explosion" in use ofimages and "found image" painting the first making-in-the-mind is missing, except in the
words that was happening. What we kept ended up barely covering two sense that the process itself is pre-thought. In the 1980s, when that process is
sides ofa page and, whatever Eduardo had in mind, he never called on its an inherited one, it can hardly be said to be pre-thought; it is a copy ofa pro­
use. But this interest in groups ofwords was perhaps connected to watching cess already invented.
us collage typescripts in Doughty Street while editing; our Urban Reidenlifica­ We could ask what are the new finding processes ofour period, if
lion UR - manUScript, with its proposed covers in Neapolitan ice stripes. the found-image in painting is now a genre?
The text was finally published as Ordinariness and Light
In the mid-195O&, the "found" manuscripts for Young Girl staned, in I. See Uppercase. 3 {I 961). Also A. and P. s.~ GriU. for CIAM 9 GIAiI-m-Proyence, cal.
frustration at the Bates House (Burrows Lea Fann) not building.1 110.71.
2. m p<lvilion; Upper Lawn p<Mlion.
The next two writings, which might - through their detailed accu­ 3. IMqui Howe. Piccadilly.
racy and the integration oftext and imagery/documents (to use the period 4. We inadvertently tested our smse of yallit by inttodudDtJ a yoWl8 person 10 NiSei jllSt before
202 word) - be considered as growing out oftheir "as found" period locations, ms untlmely death. and it was wonderful 10 hear and watch the old D1Gfidan at work. This
were "Breath ofIndia" and "1916aso"; staned respectively in the late 1950& lack of a "SIIIdio" humour is striki!lfly absent in the lale 1980s: does il rell«t alack .r inld·
and the late 1960s. They cannot be thought ofonly as period pieces because lectual octiYity1
5. SomethiDa that .... were discominB through other arcbJr.eru. Bm and liU Howell. in their
the unpublished fiction writings continue to be edited for pleasure whenever ned 10 take us campiD8 en rouk 10 CIAM al AiI-en-Pnrvence: and so on.
there is a suitable gap. Nevertheless, in these fictions the characters remain 6. 11\'0 particularly One strips were put in a frlllllt and given as a weddinjj present to Trevor and
ponrayed as iffound, in that place, in that period oftheir supposed exis­ Joan D4lllIGlI, c. 1953,
tence, for the characters do not represent types or philosophical! 7. Su AWoa Smithson. Portrait ofthe Female Mind as • Young Girl (Loodon. 1%6).
psychological attitudes but are themselves. like people. largely unexplainable,
reflecting the fact that in real life a person is something in the eye ofeach
beholder. We see this in}ane Austen's supponing characters, whose "natures"
seem to change when the beholder becomes sensible to other qualities in
them.
Until these writings are published - the integration ofimagery
being resisted by potential publishers - it will be unclear whether there is a
"school" of "as found" writing: even then, some critic may - as in the case of
New Brutalism - include, for the sake offashion or to body out a theory,
things that muddy the issue and not explore fully, through ignorance, the
then virtually unknown key figure ... as in the case ofNew Brutalist architec­
ture, where the work ofSigurd Lewerentz, virtually by itseJ£ could have
explained some deeper, enduring quality.

Some Doubts about the I I Found Image f f in Painting

There are bound to be doubts about the "found image" in painting, at a time
when the whole ofpast art is ransacked for imageable material to be
enfolded into the ever-faster-consumed commercial graphics.