TheIndependent Group (IG) met at theInstitute of Contemporary Arts (ICA) inLondon,England, from 1952 to 1955. The IG consisted of painters, sculptors, architects, writers and critics who wanted to challenge prevailingmodernist approaches to culture. They introducedmass culture into debates abouthigh culture, re-evaluated modernism and created the "as found" or "found object" aesthetic.[1] The subject of renewed interest in a post-disciplinary age, the IG was the topic of a two-day, international conference at theTate Britain in March 2007. The Independent Group is regarded as the precursor to thePop Art movement in Britain.[1][2][3]
The Independent Group had its first meeting in April 1952, which consisted of artist and sculptorEduardo Paolozzi feeding a mass of colourful images from American magazines through anepidiascope. These images, composed of advertising, comic strips and assorted graphics, were collected when Paolozzi was resident in Paris from 1947-49. Much of the material was assembled as scrapbookcollages and formed the basis of his BUNK! series of screenprints (1972)[4] and theKrazy Kat Archives now held at theV & A Museum, London. In fact, Paolozzi's seminal 1947 collageI was a Rich Man's Plaything was the first such "found object" material to contain the word ″pop″ and is considered the initial standard bearer of “Pop Art”.[1][5] The rest of the first Independent Group session concentrated on philosophy and technology during September 1952 to June 1953, and was chaired by design critic and historian,Reyner Banham. Key members at this stage included Paolozzi, the artistRichard Hamilton, surrealist and magazine art directorToni del Renzio, sculptorWilliam Turnbull, the photographerNigel Henderson and fine artistJohn McHale, along with the art criticLawrence Alloway.
The Group did not meet during late 1953 or early 1954, as they were concentrating on delivering a public programme of lectures at the ICA,Aesthetic Problems of Contemporary Art. New members joined the Independent Group for its second full session, including the architectsAlison and Peter Smithson. The Smithsons along with Paolozzi, Henderson, Ronald Jenkins, Toni del Renzio, Banham and others staged the highly significant exhibition,Parallel of Life and Art at the ICA in the autumn of 1953. Reyner Banham stood down as chair of theIndependent Group, as he was busy with his PhD thesis at theCourtauld Institute of Art, and in late 1954 Dorothy Morland asked the art critic Lawrence Alloway and fine artist John McHale to reconvene the Independent Group for its second session. The painterMagda Cordell and her husband, music producerFrank Cordell joined the Independent Group at this point.
The second session focused on American mass culture such as Western movies,science fiction,billboards, car design and popular music. In the course of such discussions, they drew uponFuturist,Surrealist, theBauhaus, andDada concepts. John McHale and Lawrence Alloway curated aCollages and Objects exhibition at the ICA in 1954, where McHale exhibited his formative Pop Art collages. Richard Hamilton organised an exhibition,Man, Machine and Motion in late 1955 at theHatton Gallery, Newcastle and the ICA, which focussed on someIndependent Group concerns.
In 1956 the group came to wider public attention with its participation in the exhibitionThis Is Tomorrow. The IG ceased to meet formally by 1955, but the IG members continued to meet informally right up to 1962/63, and the connections between the various members continued to bear fruit in the subsequent years of their creative practice.
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