Eduardo Paolozzi: A Founder of British Pop Art

Eduardo Paolozzi - Jesus colour by numbers, from General Dynamic F.U.N - 1970 - 15 x 10 in. - Photolithograph on paper - Art Institute of Chicago (click photo for larger image)Eduardo Paolozzi (1924-2005) was a prolific and inventive British artist most known for his synthesis of Surrealism’s principles and new elements of popular culture, modern machinery and technology. “He was raised in the shadows of World War II in a family deeply affected by the divisive nature of a country involved in conflict, which birthed his lifelong exploration into the many ways humans are influenced by external, uncontrollable forces. This exploration would come to inform a vast and various body of work that vacillated between the darker and lighter consequences of society's advancements and its so-called progress.”

Most people associate Pop Art with American popular culture. Its seeds, however, go back to a group of artists in London (the Independent Group) that began meeting regularly in 1954 to discuss topics such as mass culture's place in fine art, the found object, and science and technology. 

A Harsh Scrutiny of American Society

Edward Kienholz and Nancy Reddin Kienholz - Sollie 17 - 1979-80 - mixed media construction - 120 x 336 x 168 in. - Smithsonian American Art Museum - Washington, D.C. (click photo for larger image)“An American artist of unwavering originality, critical insight, and notoriety, Edward Kienholz (1927-1994) created powerful work that reflected upon contemporary social and political issues of late twentieth-century America.” His work conveys a harsh scrutiny of American Society. The work featured here raises questions about society’s treatment of the elderly.

Kienholz grew up in a working-class family on a farm in the state of Washington. He learned auto repair, carpentry and metalworking skills that ultimately fed into his art. He never studies art in school, but did pursue painting, on his own, until he moved to Los Angeles in 1953. He then began producing large wooden reliefs composed of found objects and industrial paints (procured from auto shops and the like). He eventually moved away from the relief format to concentrate on creating elaborately detailed three-dimensional assemblages. 

Keinholz often worked on projects with his fifth wife and fellow artist—Nancy Reddin Kienholz (born 1943). They began producing work together from 1972 forward.