Thursday, January 19, 2017

David Hockney and the joy of looking

by Emma Crichton-Miller


February 2017

We think we know David Hockney. He is one of the most recognisable and best-loved artists in the world—whether in his early incarnation as the boy from Bradford with bleached hair and round glasses who painted boys in swimming pools, or in his latter years as the trainer-wearing celebrant of East Yorkshire’s rolling landscape. His photo collage Pearblossom Hwy, 11-18th April 1986, #2 is the most popular image at the Getty Museum in Los Angeles. His 1967 painting A Bigger Splash—with its meticulously realised explosion of white water in a scene of rectilinear calm—is regularly in the top 10 most popular British paintings. In 2011, British art students voted Hockney the most influential artist of all time.

On the one hand, Hockney seems reassuringly conservative in his focus on still life, landscape and portraiture. On the other, his bright-hued optimism and excited embrace of technology, from fax machines to the iPhone and iPad, have endeared him to new audiences. As two recent exhibitions at the Royal Academy—Yorkshire landscapes in 2012 and portraits in 2016—have proven, crowds flock to his abundant, inquisitive and joyful art.

In Hockney’s 80th year, however, Tate Britain is hoping to present a more comprehensive and nuanced account of his achievement in a new retrospective exhibition that runs from 9th February to 29th May.


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