2024-03-29T08:35:31Zhttp://harvester-bl.britishart.yale.edu/oaicatmuseum/OAIHandleroai:tms.ycba.yale.edu:71192024-03-28ycba:pd
YCBA/lido-TMS-7119
http://www.cidoc-crm.org/cidoc-crm/E22_Human-Made_Object
Human-Made Object
300108127
abstract art
300178376
planographic print
300041273
Print
The Cultural Value of Fear, Distrust and Hypochondria
Cultural Value of Fear, Distrust and Hypochondria, 1966, from the Mahler becomes Politics, Beisbol portfolio, 1964-7
Mahler Becomes Politics, Beisbol, 1964-7
Inscribed in graphite, lower left: "55/70"; inscribed on verso (on small white sticker with green dot), lower right: "gn 3447"
"THE CULTURAL VALUE OF FEAR, DISTRUST AND HYPOCHONDRIA" (underlined)
Signed in graphite, lower left: "Kitaj"
500303557
Yale Center for British Art
http://britishart.yale.edu
B1983.31.22
Not on view
Yale Center for British Art
41.3080060, -72.9306282
Jane Kinesman, The Prints of R.B.Kitaj, Aldershot, Hants, England, 1994
20 5/8 x 30 7/16in. (52.4 x 77.3cm)
width
cm
77.3
height
cm
52.4
Sheet
16 3/4 × 27 1/4 inches (42.5 × 69.2 cm)
height
cm
42.5
width
cm
69.2
Image
7119
300054713
production
R. B. Kitaj, 1932–2007, American, active in Britain (1958–97)
ycba_actor_660
http://vocab.getty.edu/ulan/500007852
http://id.loc.gov/authorities/names/n50047202
https://viaf.org/viaf/29568352
https://www.wikidata.org/wiki/Q569505
http://www.oxforddnb.com/index/99/101099170/
https://n2t.net/ark:/99166/w6sb4j0j
Ronald Brooks
Ronald Brooks Kitaj
Ron B. Kitaj
Ronald B. Kitaj
R. B. Kitaj
Kitaj Ronald Brooks, 1932–2007
R. B. Kitaj, 1932–2007
R. B. Kitaj, 1932–2007
2078791
7003321
7002445
1002608
American, active in Britain (1958–97)
1932
2007
male
300025103
Artist
300025164
printmaker
300025181
sculptor
300025136
painter
Royal Academician
300112172
draftsman (artist)
300107956
American
1966
1966
1966
26
20th century
Screen print on moderately thick, moderately textured, light red wove paper
300053281
screen printing
Just what was it that made British Pop so different, so appealing? (Yale Center for British Art, 2004-01-26 - 2004-05-09)
210
https://britishart.yale.edu/node/674
300054766
exhibition
Just what was it that made British Pop so different, so appealing?
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
YCBA
BAC
British Art Center
1977
0
63
Organizer
2004-01-26 - 2004-05-09
2004-01-26
2004-05-09
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
300435424
The exhibition Richard Hamilton: Prints and Multiples, 1939–2002 was accompanied by Just what was it that made British Pop so different, so appealing?—an exhibition selected from the Center’s permanent collection of prints, drawings, rare books, and manuscripts. Tracing the development of British Pop from its original formulation by the Independent Group in the mid-1950s to its exuberant flowering in the sixties, Just what was it that made British Pop so different, so appealing? featured works by Hamilton’s contemporaries, including Peter Blake, David Hockney, John McHale, R. B. Kitaj, and Eduardo Paolozzi. The exhibition featured two of the most celebrated portfolios of the Pop era, Paolozzi’s As is When and Hockney’s Rake’s Progress, and also included rare material documenting the activities of the Independent Group, selected from the archive of John McHale, one of its founding members. — —
Two documentary films were screened in the exhibition. Fathers of Pop (1979, directed by Reyner Banham and Julian Cooper) charted the creation and activities of the Independent Group. James Scott collaborated closely with Richard Hamilton on the making of the seminal documentary Richard Hamilton (1969, directed by James Scott), and the artist even created the commentary; as Scott noted, “Hamilton was so involved in making the film, you could say it is as much by him as about him.” — —
Credits — —
Just what was it that made British Pop so different, so appealing? was organized by the Yale Center for British Art and curated by Gillian Forrester, Associate Curator of Prints and Drawings; with Sarah Cree and Eric Stryker, PhD candidates in the Department of the History of Art, Yale University. — —
Yale Center for British Art
20th Century Works on Paper (Yale Center for British Art, 2000-01-27 - 2000-04-30)
76
300054766
exhibition
20th Century Works on Paper
Yale Center for British Art
Yale Center for British Art
ycba_actor_1281
https://www.wikidata.org/wiki/Q6352575
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
http://id.loc.gov/authorities/names/n77005277
British Art Center
Yale Center for British Art
YCBA
BAC
1977
0
300025633
Curator
2000-01-27 - 2000-04-30
2000-01-27
2000-04-30
Yale Center for British Art
ycba_actor_1281
http://id.loc.gov/authorities/names/n77005277
http://vocab.getty.edu/ulan/500303557
https://viaf.org/viaf/155449049
https://www.wikidata.org/wiki/Q6352575
Yale Center for British Art
New Haven
7014210
New Haven
7119
300157782
acquisition
Yale Center for British Art
ycba_actor_1281
YCBA
BAC
Yale Center for British Art
British Art Center
1977
0
300203630
Owner
1983
1983
1983
300138913
gift
300055603
500303557
Yale Center for British Art
https://britishart.yale.edu
Yale Center for British Art, Anonymous Gift
300055598
© Estate of the Artist
300435434
https://rightsstatements.org/vocab/InC/1.0/
7119
300133025
Item
500303557
Yale Center for British Art
http://britishart.yale.edu
https://collections.britishart.yale.edu/catalog/tms:7119
oai:tms.ycba.yale.edu:7119