David Hockney
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David Hockney Has Just Completed His Biggest Ever Painting, a Vast Open
48 Summer 49 Exhibition David Hockney has just completed his biggest ever A BIGGpainting, a vast open-air landscape.E Martin GayfordR visits him in Yorkshire to ask how he did it – illustrated overleaf – and why he thinks art should engulf us On Good Friday this year I went, in company with a small group This is not the largest oil painting ever made – that Left David Hockney at work on ‘Bigger Trees near of fellow travellers, to visit a warehouse on an industrial estate distinction is usually accorded to Tintoretto’s Paradiso in Warter’. He had to work in Bridlington, East Yorkshire. The object of our pilgrimage was the Doge’s Palace, Venice. But it has little in common with an furiously over a six-week period in order to capture not this nondescript structure but the painting that was briefly ordinary, easel-sized canvas into which one looks as if into a the bare branches before they started to bloom. ‘I love hung within it. There on the far wall was the largest picture window. So enormous is this picture that the experience of looking at trees in winter,’ David Hockney has ever created – and perhaps the most sizable looking at it is like standing in front of a real tree. As Hockney he says, ‘because you’re actually seeing the life ever to be painted in the open air. This is also a first for the artist, puts it, ‘it engulfs you’. force – all the branches are who has never before seen the entire work assembled together. -
Smithsonian Year
\ ^^1. V? ^ # I < rr. f ithsonian Institution Smithsonian Year Annual Repoil: for the Snnithsonian Institution for the Year Ended Septennber 30, 1998 SMITHSONIAN INSTITUTION PRESS Washington, D.C. 1999 Cover: Two male one-inch-long Title page: Scientists at the National blennies, Emblemaria pandionis, IVIuseum of Natural History's marine fight over territory from their field station on the island of Carrie burrows in algae-covered pieces Bow Cay, off Belize, study the biodi- of coral rubble at the National Mu- versity of complex coral reef eco- seum of Natural History's marine systems. Belize's reef is the largest laboratory on the island of Carrie barrier reef in the western hemi- Bow Cay, off Belize. Studies of the sphere, offering a relatively undis- behavioral ecology of this and many turbed, environmentally healthy other species are helping scientists "laboratory" for learning about the to understand the competitive utiliza- interrelationships among coral reef tion of space and other resources organisms in their natural environ- by organisms in complex coral reef ment. (Photograph by Carl C. ecosystems. (Photograph by Hansen) Carl C. Hansen) Back cover: Research by Dr Judith Frontispiece: This powerful self-por- Zilczer, curator of paintings at the trait from 1917 by Kohno Michisei Hirshhorn Museum and Sculpture (1895-1950), an influential member of Garden, revealed that Willem de Japan's third generation of pro- Kooning (American, b. The Nether- gressive Western-style artists, is lands, 1904-97) created this oil paint- modeled on a self-portrait by ing on paper immediately upon Albrecht Durer painted in 1500. One learning of the assassination of of the definitive Japanese works of John F. -
A Bigger Splash’
The photographic source and artistic affinities of David Hockney’s ‘A bigger splash’ by MARTIN HAMMER DAVIDOCKNEY’S H A bigger splash (Fig.32), painted fifty years down from the more visible of the two trees, coincides roughly ago this year, features naturally in the artist’s current eightieth with the far-right corner of the diving-board. birthday retrospective, reviewed on pp.413–15.1 A canonical Aesthetic detachment reflected the circumstances of the pic- work in art history, the picture owes its wide appeal to many ture’s creation. A bigger splash was completed in Berkeley, where factors: legibility and economy; the visual wit inherent in im- Hockney was teaching from April to June 1967, and not in Los plying human action although no figure is visible; its evocation Angeles. In fact, the painting was the elaboration of an idea of an idyllic sunny environment, the dream of Arcadia trans- explored in two pictures produced the previous year, The little planted from the Roman Campagna to modern California; splash and The splash (both in private collections).4 n I that sense, Hockney’s precise, well-crafted execution; reproducibility; and A bigger splash comprised a distillation of Los Angeles, realised a lingering association with the Swinging Sixties and its good with the benefit of geographical and emotional distance. The vibrations. Yet the recent recycling of Hockney’s title for that of two previous versions had been sold in Hockney’s one-man a rather dark film about a Mediterranean holiday that goes bad- show at the Landau-Alan Gallery in New York in April 1967, ly wrong, suggests not merely the continuing resonance of the organised in conjunction with his London dealer, John Kas- work, but also its availability to less upbeat interpretations.2 nI min.5 The impulse to make the larger version that spring may reinserting A bigger splash into its specific historical and cultur- therefore have had a commercial dimension, looking ahead to al moment, and by employing close reading and comparative his next show. -
Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
Smithsonian American Art Museum
Smithsonian American Art Museum Chronological List of Past Exhibitions and Installations on View at the Smithsonian American Art Museum and its Renwick Gallery 1958-2016 ■ = EXHIBITION CATALOGUE OR CHECKLIST PUBLISHED R = RENWICK GALLERY INSTALLATION/EXHIBITION May 1921 xx1 American Portraits (WWI) ■ 2/23/58 - 3/16/58 x1 Paul Manship 7/24/64 - 8/13/64 1 Fourth All-Army Art Exhibition 7/25/64 - 8/13/64 2 Potomac Appalachian Trail Club 8/22/64 - 9/10/64 3 Sixth Biennial Creative Crafts Exhibition 9/20/64 - 10/8/64 4 Ancient Rock Paintings and Exhibitions 9/20/64 - 10/8/64 5 Capital Area Art Exhibition - Landscape Club 10/17/64 - 11/5/64 6 71st Annual Exhibition Society of Washington Artists 10/17/64 - 11/5/64 7 Wildlife Paintings of Basil Ede 11/14/64 - 12/3/64 8 Watercolors by “Pop” Hart 11/14/64 - 12/13/64 9 One Hundred Books from Finland 12/5/64 - 1/5/65 10 Vases from the Etruscan Cemetery at Cerveteri 12/13/64 - 1/3/65 11 27th Annual, American Art League 1/9/64 - 1/28/65 12 Operation Palette II - The Navy Today 2/9/65 - 2/22/65 13 Swedish Folk Art 2/28/65 - 3/21/65 14 The Dead Sea Scrolls of Japan 3/8/65 - 4/5/65 15 Danish Abstract Art 4/28/65 - 5/16/65 16 Medieval Frescoes from Yugoslavia ■ 5/28/65 - 7/5/65 17 Stuart Davis Memorial Exhibition 6/5/65 - 7/5/65 18 “Draw, Cut, Scratch, Etch -- Print!” 6/5/65 - 6/27/65 19 Mother and Child in Modern Art ■ 7/19/65 - 9/19/65 20 George Catlin’s Indian Gallery 7/24/65 - 8/15/65 21 Treasures from the Plantin-Moretus Museum Page 1 of 28 9/4/65 - 9/25/65 22 American Prints of the Sixties 9/11/65 - 1/17/65 23 The Preservation of Abu Simbel 10/14/65 - 11/14/65 24 Romanian (?) Tapestries ■ 12/2/65 - 1/9/66 25 Roots of Abstract Art in America 1910 - 1930 ■ 1/27/66 - 3/6/66 26 U.S. -
Christie's to Offer David Hockney's Sur La Terrasse
PRESS RELEASE | N E W Y O R K FOR IMMEDIATE RELEASE: 1 5 O C T O B E R 2019 CHRISTIE’S TO OFFER DAVID HOCKNEY’S SUR LA TERRASSE, 1971 UNSEEN BY THE PUBLIC FOR 46 YEARS To go on view to the public at Christie’s Los Angeles on October 15 for the first time since 1973. New York – On November 13, Christie’s will offer David Hockney’s Sur la Terrasse, 1971 ($25-45 million) as a central highlight of its Evening Sale of Post-War and Contemporary Art. A glowing sun-drenched vision rendered on a spectacular life-sized scale, Sur la Terrasse stands among David Hockney’s most poignant works. Begun in March 1971, and completed that summer, it was painted during the decline of his relationship with Peter Schlesinger: his first love and greatest muse. This turn of events became a milestone in the artist’s personal life, precipitating an intense period that resulted in heart-wrenching expression in his paintings. The present work has occupied a single private collection for nearly half a century and has never appeared at auction. On October 15, Sur la Terrasse will go on view at Christie’s Los Angeles, marking the first time that it will be seen in public since 1973. Ana Maria Celis, Head of Evening Sale, Post-War and Contemporary Art, remarked: “Sur la Terrasse is an extraordinarily beautiful work, which provides a window into the conclusion of David Hockney’s relationship with his muse and longtime love, Peter Schlesinger. This work marks a momentous turning point in the artist’s personal and professional lives. -
Mules and the Grand Canyon”, a Four Part Series, by Terry Wagner
IF THEY CAN DO IT AT THE GRAND CANYON THEY CAN DO IT ANYWHERE! By Ben Tennison, Editor In Chief, Western Mule Magazine Our American heritage is in jeopardy today. Who would have believed one of the great icons of our western her - itage, The Grand Canyon Mules would be in jeopardy in our lifetime. Western Mule Magazine broke this news of plans underway to do away with The Grand Canyon Mule trips within the Grand Canyon National Park back in September 2008. Western Mule readers’ response to the article was tremendous, with phone calls, letters and emails to the park service and to government officials. This outcry of in - justice by readers prompted a letter from Park Superintendent Steve Martin himself calling the article erroneous, with only a temporary diversion of mule traffic on the Grand Canyon National Park trails. Steve Martin’s response was published before Superintendent Martin knew who Western Mule Magazine’s source was. We have had no re - sponse from the Park Service since our source was publicly revealed. I have sent along a pdf file of the entire set of articles published in Western Mule Magazine since September 2008 on the Grand Canyon and the famous Grand Canyon Mules. With a tremendous amount of research from Western Mule Magazine contributor, Terry Wagner, these articles will take you where this battle began, through an in depth history of the Grand Canyon and the mules, up to current operations of today. Even though we here at Western Mule Magazine have known of the move to do away with the mules of the Grand Canyon for over a year now, we were of the belief everyone knew about it. -
Boatman's Quarterly Review
the journal of the Grand Canyon River Guides, Inc. • voulme 25 number 2 • summer 2012 boatman’s quarterly review boatman’s Prez Blurb•Farewell •BooksKen,2Arts&RonGTSLand • GTSRiver HMcD Signature•Chub Relocation•OverflightsBackoftheBoat Food ForThought •Conflict/Harmony •SpringFlowers Art Gallenson boatman’s quarterly review Prez Blurb …is published more or less quarterly by and for GRAND CANYON RIVER GUIDES. Á’ÁT’ÉÉH, HAPPY RIVER SEASON! It’s already that GRAND CANYON RIVER GUIDES time of year again! Many of you have already is a nonprofit organization dedicated to Yhad a couple or more commercial trips under your belt on the Colorado, Grand Canyon or other Protecting Grand Canyon rivers. As a fellow river guide, I know that the begin- Setting the highest standards for the river profession ning of the river season or before your first trip begs Celebrating the unique spirit of the river community the main questions of “Where did I put that?” or “What Providing the best possible river experience am I forgetting?” At least for me, it’s the stressful part of the beginning of river season but I often remind General Meetings are held each Spring and Fall. Our myself that I’m going to a place of solitude, beauty, Board of Directors Meetings are generally held the first friendship, and adventure. It is also a stark reminder wednesday of each month. All innocent bystanders are that this place we all call home and our “office” is urged to attend. Call for details. always under observation from the constant threats of STAFF exploitation from development, mining and increased Executive Director LYNN HAMILTON visitation. -
David Hockney'in
International JOURNAL OF SOCIAL, HUMANITIES AND ADMINISTRATIVE SCIENCES Open Access Refereed E-Journal & Refereed & Indexed JOSHASjournal (ISSN:2630-6417) 2020 / Vol:6, Issue:26 / pp.547-557 Arrival Date : 09.04.2020 REIEW ARTICLE Published Date : 12.05.2020 Doi Number : http://dx.doi.org/10.31589/JOSHAS.299 Reference : Erdoğan, B. & Yayan, G.H. (2020). “David Hockney’ın “The Splash” İsimli Eseri Özelinde Sanat Eserinin Piyasa Değeri”, Journal Of Social, Humanities and Administrative Sciences, 6(26):547-557. DAVİD HOCKNEY’IN “THE SPLASH” İSİMLİ ESERİ ÖZELİNDE SANAT ESERİNİN PİYASA DEĞERİ The Market Value Of Artwork: Example Of “The Splash” By David Hockney Barış ERDOĞAN Gazi Üniversitesi, Eğitim Bilimleri Enstitüsü, Güzel Sanatlar Anabilim Dalı, Resim-İş Öğretmenliği Bilim Dalı. Ankara/Türkiye Dr.Öğr. Üyesi Gonca Hülya YAYAN Dr.Öğr.Üyesi-Gazi Üniversitesi Eğitim Fakültesi Resim-İş Öğretmenliği Bölümü, Ankara/Türkiye ÖZET Günümüzde çoğu dünya ekonomisi büyük finansal krizlerle baş etmeye çalışmaktadır. Sanat piyasasının tamamı da bu durumdan nasibini almış olsa da ünlü sanatçıların eserleri hala çok büyük rakamlarla el değiştirmektedir. Bunun son örneklerinden birisi de İngiliz sanatçı David Hockney’in The Splash isimli eseridir. Hockney’in bu tablosu, 2006 yılında 9 milyon dolara alıcı bulmuşken, 2020 Şubat ayında düzenlenen bir müzayede de 23,1 milyon sterline satılmıştır. Bu makalede İngiliz Sanatçı David Hockney’in The Splash isimli eseri özelinden yola çıkılarak, sanat piyasasındaki tabloların değerlendirme ve bunların sebepleri üzerinde durulmuştur. Araştırma kapsamında Hockney’in eserlerinin geçmişten günümüze değer artışı ile diğer çağdaş sanatçıların eserleri arasındaki fiyatlar da karşılaştırmalı olarak incelenmiştir. Ayrıca sanat piyasalarının nasıl oluştuğu, nelerden etkilendiği, günümüze kadar hangi aşamalardan geçtiği ve günümüzdeki sanat piyasalarını oluşturan dinamiklerin neler olduğu da araştırmanın konusu içerisinde ele alınmıştır. -
David Hockney
875 North Michigan Ave, Chicago, IL 60611 Tel. 312/642/8877 Fax 312/642/8488 1018 Madison Avenue, New York, NY 10075 Tel. 212/472/8787 Fax 212/472/2552 DAVID HOCKNEY Born in Bradford, England, 1937. Lives and works in Los Angeles, California. EDUCATION 1953-57 Attended Bradford College of Art 1959-62 Attended Royal College of Art 1964 Teaching Position at University of Iowa 1965 Teaching Position at University of Colorado 1966-67 Teaching Position at University of California, Los Angeles & Berkeley SELECTED SOLO EXHIBITIONS 2016 David Hockney: I Draw, I Do, The MAC, Belfast, Ireland (forthcoming) The Yosemite Suite, L.A. Louver, Venice, California The Yosemite Suite, Annely Juda Fine Art, London David Hockney: 77 Portraits, 2 Still Lifes, Royal Academy of Arts, London, United Kingdom David Hockney: The Yosemite Suite, Pace, 537 West 24th Street, New York, New York. David Hockney: Six Tales from the Brothers Grimm, Gallagher & Turner, Newcastle, United Kingdom David Hockney: From the Beginning, River and Rowing Museum, Henley on Thames, United Kingdom 2015 – 2016 Hockney’s Double Portraits, Tate Britain, London, United Kingdom The Arrival of Spring, Fondation Vincent van Gogh Arles, Arles, France 2015 David Hockney, Works on Paper, Paul Kasmin Gallery, New York, New York David Hockney: Early Drawings, Offer Waterman, London, United Kingdom The Arrival of Spring in Woldgate, Galerie Lelong, Paris, France David Hockney: Painting and Photography, Annely Juda Fine Art, London, United Kingdom; traveled to L.A. Louver, Venice, California [cat.] -
Round 06 - Tossups
NASAT 2015 - Round 06 - Tossups 1. The change in this quantity multiplies i in the exponential of the integral giving the atomic form factor. Einstein suggested that the change in this quantity for the far screen would determine which slit a photon passes through. The "transfer" of this quantity, symbolized q, is a common term in scattering experiments. This quantity, divided by h-bar, gives the wavevector. The commutator of this quantity with x is i times h-bar. The energy of a photon equals the speed of light times this quantity. The Hamiltonian of a particle in a box is the square of its operator, over twice the mass. The de Broglie wavelength is Planck's constant over this quantity. For 10 points, name this quantity which, classically, equals mass times velocity. ANSWER: linear momentum <Silverman> 2. In the first scene of this play, a woman inquires of a messenger, "how many hath he killed? for indeed I promised to eat all of his killing." A man in this play regrets that his friend would now rather hear "the tabour and the pipe" than "the drum and the fife." In a climactic confrontation in this play, a man exclaims, "Is this the prince? Is this the prince's brother?...Are our eyes our own?" Women are told to convert all their "sounds of woe into hey nonny nonny" in a song in this play urging them to "sigh no more." In this play, Borachio and Margaret become part of a scheme by Don John that leads to the faked death of Hero, who is in love with Claudio. -
The National Life Story Collection
IN PARTNERSHIP WITH AN ORAL HISTORY OF BRITISH FASHION Betty Jackson Interviewed by Eva Simmons C1046/10 IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Title Page Ref. No.: C1046/10/01-26 Playback No: F15711, F16089-92, F16724- 8, F16989-96, F17511-8 Collection title: Oral History of British Fashion Interviewee’s surname: Jackson Title: Ms Interviewee’s forenames: Betty Sex: F Occupation: Fashion Designer Date of birth: 1949 Mother’s occupation: Housewife Father’s occupation: Shoe Manufacturer Date(s) of recording: 14.07.04, 29.09.04, 20.10.04, 25.11.04, 02.12.04, 14.01.05, 25.02.05, 08.04.05, 22.04.05, 06.05.05, 03.06.05, 27.06.05 Location of interview: Betty Jackson’s office, Shepherds Bush, London Name of interviewer: Eva Simmons Type of recorder: Marantz CP430 Total no. of tapes: 26 Type of tape: D60 Mono or stereo: Stereo Speed: N/A Noise reduction: Dolby B Original or copy: Original Additional material: Copyright/Clearance: open Interviewer’s comments: Betty Jackson Page 1 C1046/10 Tape 1 Side A (part 1) Tape 1 Side A [part 1] This is Eva Simmons interviewing Betty Jackson.