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David Hockney: Exhibition Guide We Two Boys Together Clinging, 1961 the First Marriage (A Marriage of Styles 1), 1962 a Bigger Splash, 1967

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David Hockney: Exhibition Guide We Two Boys Together Clinging, 1961 the First Marriage (A Marriage of Styles 1), 1962 a Bigger Splash, 1967 David Hockney: Exhibition Guide We Two Boys Together Clinging, 1961 The First Marriage (A Marriage of Styles 1), 1962 A Bigger Splash, 1967 “When you look at Hockney’s painting There’s a game being played here – the game “What one must remember you have to change your focus, section by being how one makes an image. And how “Hockney trod on David Hockney section. What is this man in a suit doing that image encompasses everything that about some of these paintings next to an Egyptian figure in the beginnings interests him – relationships, travel, culture, everyone toes with his of a subtropical landscape? It just looks the art of his contemporaries, etc. Hockney is that they were partly impossible. There are all sorts of things going is having a conversation with his peers of the paintings of California.... – on, many of them abstract, in the bottom left time – “pure” modern artists like Kenneth 1960 1968: propaganda.” hand corner, including a Gothic arch, which Noland and Bernard Cohen, whose work back in the UK we were possibly refers to the marriage. Then there is was concerned with the act of painting itself, all this blank canvas for you to project your not their own experiences. He is playfully still living in a black A Marriage of Styles own interpretations. Yet this contradictory questioning the style of others. Yet this is not image has a very simple explanation. It’s a cynical satire. Hockney is finding his own way and white film..” sighting of Hockney’s friend standing behind through his practice, his relationship with art, an Eygptian statue in a Berlin museum. They and its relationship to the world.” David Hockney was born in Bradford, Hockney returned to Los Angeles in 1964 to David Hockney “A Bigger Splash” 1967. are both looking in the same direction, as if Acrylic on Canvas, 96 x 96” Yorkshire, in 1937. He studied at the paint, teach and travel. Since then he has lived Alex Farquharson, they are united – the statue having made a © David Hockney. Photo (c) Tate, London 2009. school of art there between 1953 and 1957. most of his life in the city that has inspired Director, Nottingham Contemporary. journey of thousands of years to the present A conscientious objector to then compulsory much of his work. At first glance A Bigger Splash is an iconic was promoted in advertising in its day, it has moment. National Service, he worked in a hospital for representation of all that we have come to some association with Pop Art. Its flat stripes During the last five decades he has exhibited two years before starting at the Royal College know as California. The turquoise pool and blocks are close to Abstract art, too. widely, and his work is in many major of Art in London. He became a successful belongs to a modernist dwelling. The It is both of its time and timeless. collections. He now lives in Yorkshire, artist while still a student there, from 1959 “There is a game being played here – unvarying blue sky is broken only by palm “Hockney trod on everyone’s toes with his painting landscapes. He is consistently called to 1962. The year after he left he visited We Two Boys Together Clinging (1961). trees whose fronds unfurl like celebratory paintings of California […] Back in the UK we Britain’s favourite artist. Courtesy of Arts Council Collection, Southbank Centre, London. the game being how one makes an image.” fireworks. Los Angeles for the first time, and travelled © David Hockney. were still living in a gritty post-War black and to Egypt to illustrate articles for The Sunday This exhibition is the first to focus on his early Hockney’s painting has no human figures, yet white film, more gas fires than central heating, Times Magazine. He also held his first solo years in London and Los Angeles. Hockney’s paintings from this period were What one must remember about some the image is not without theatre. The diving showers a rarity, swimming pools municipal. exhibition in London. influenced by Abstract Expressionism, the of these pictures is that they were partly board points towards the empty chair of an Hockney show us pictures in vivid colour prevailing high art of the period. Yet he propaganda of something I felt hadn’t been intent observer. The glass windows do not of naked young men bronzed but for pale incorporated symbols, writing, gay slang, and propagandised, especially among students, reflect the artist whose viewpoint has given us buttocks disporting in sun soaked blue pools coded numbers that refer both to himself and as a subject:homosexuality. I felt it should be such a vivid sense of being there. or under cascading water.” other young men. 4 8 is alphabetical code for done. Nobody else would use it as a subject, The diver himself is lost to view for a Andrew Brighton, David Hockney 1960-1968: David Hockney. but because it was part of me it was a subject moment that has been stretched to eternity. A Marriage of Styles, 2009 I could treat humourously. I loved the line We “We Two Boys Together Clinging is from Walt His body has shaped the splash – a splash “…he drove me to a motel in Santa Monica two boys together clinging; it’s a marvellous, Whitman; We two boys together clinging/ that took Hockney two weeks to paint. Its and just dropped me there… I got into the beautiful poetic line.” One the other never leaving/Arm’d and violent energy has forever disrupted this motel, very thrilled; really really thrilled… I fearless, eating, drinking, sleeping, loving. David Hockney by David Hockney: My Early Years, still, charged scene. It is tempting to imagine was so excited. I think it was partly a sexual The emphasis of the painting is on ‘clinging’; Thames and Hudson, 1976 Hockney’s own triumphant entry into his fascination and attraction… Within a week of arriving there in this strange big city, not not only are the arms clinging but small “With his growing fame, Hockney’s declared imagined utopia, a submerged presence in an impossibly perfect picture that still influences knowing a soul, I’d passed my driving test, tentacles help keep the bodies close together sexuality contributed to the campaign that how we see Los Angeles. bought a car, driven to Las Vegas and won as well. At the time of the painting I had led, in defiance of majority public opinion, to some money, got myself a studio, started a newspaper clipping on the wall with the the legalisation of homosexual acts between Expertly manipulating time, expectation and painting, all in a week. And I thought, it’s just headline TWO BOYS CLING TO CLIFF consenting adults in 1967,” style, A Bigger Splash draws you in, just as it how I imagined it would be.” ALL NIGHT. There were also a few pictures invites you to step back outside its unpainted of Cliff Richard pinned up nearby, although Andrew Brighton, 1960- 1968: A Marriage of Styles, frame. Hockney is clearly signalling that this David Hockney, David Hockney: My Early Years, Nottingham Contemporary, 2009. David Hockney, The First Marriage Thames and Hudson, 1976 the headline was actually referring to a Bank (A Marriage of Styles I), 1962. is a painting, not a window on reality. As an Holiday mountaineering accident. Photo (c) Tate, London 2009. image that relates to the ways Los Angeles Frances Stark: Exhibition Guide There will also be things I don’t like, 2007 Backside of the Performance, 2007 Three performers in kimonos, or old- “This tough fashioned telephones, face an audience. Like the view from the back of a stage in a Frances Stark but vulnerable theatre, the image invites you to share the artist’s terrifying sense of utter exposure. But what of Frances Stark, standing by itself, individualism “Stark’s work is sometimes about the nerve a naked name, bare as a ghost to whom wracking, exhilarating, painful moment of …is not typical putting oneself, one’s art practice, oneself as one would like to lend a sheet? a creative individual, on stage, risking both David Hockney of the art world.” triumph and opprobrium. This is, if you like, Frances Stark was born in Newport Beach, Aspects of her work suggest some affinities the ‘backstage’ of any artist’s practice, but it’s – California in 1967. She still lives and works with early Hockney, including the use of rare in art to see it on full view.” 1960 1968: in Los Angeles. She attended San Francisco literary quotations that say something about Alex Farquharson, State University, before enrolling at the Art the artist, the use of theatre as a metaphor Director, Nottingham Contemporary. A Marriage of Styles Centre College of Design. Obsessed with and the suggestive use of large areas of blank language and literature from an early age, she paper, or in Hockney’s case unpainted canvas. incorporates other writing within her work, The two also share a self-deprecating irony. “Stark’s work is about the nerve-wracking, mostly borrowed from 19th and 20th century Two works in Stark’s exhibition make indirect literature, including that of Emily Dickinson. reference to Hockney. exhilarating, painful moment of putting Frances Stark She uses the words of others as her own, offering tantalising glimpses of her own life. oneself onstage.” But what of Frances Stark, standing by And brpptzap the subject, 2005 itself, a naked name, bare as a ghost to whom one would like to lend a sheet? Even when she is playing herself, Frances Frances Stark, There Will Also Be Things Stark is engaged in a game of masquerade.
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