DAVID HOCKNEY'in SANATINDA ANA BAŞLIKLAR Baybora Temel
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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. -
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. -
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. -
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. -
David Hockney Selected One-Artist Exhibitions Dates
DAVID HOCKNEY SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1937, Bradford, United Kingdom EDUCATION 1953–57, Bradford School of Art, United Kingdom 1959–62, Royal College of Art, London 2018 David Hockney: Time and More, Space and More…, Richard Gray Gallery, Chicago, September 13– November 21, 2018. David Hockney, Kunsthalle Helsinki, August 18–November 18. 2018. David Hockney: Portraits / New iPhone and iPad drawings / Pictures of Daily Life, Galerie Lelong & Co., Paris, May 26–July 13, 2018. David Hockney: Something New in Painting (and Photography) [and even Printing], Pace Gallery, 510 West 25th Street, New York, April 5–May 12, 2018. (Catalogue) David Hockney: iPhone and iPad Drawings, 2009–12, L.A. Louver, Venice, California, March 28–May 12, 2018. David Hockney: Print Room II, RedHouse Originals Gallery, March 9–April 7, 2018. David Hockney: Selected One-Artist Exhibitions 2 2017 David Hockney: prints, National Gallery of Australia, November 11, 2017–May 27, 2018. David Hockney: Works on Paper, 1961–2009, Paul Kasmin Gallery, New York, November 9, 2017–January 13, 2018. David Hockney: Yosemite, The Butler Institute of American Art, Youngstown, Ohio, July 23–September 24, 2017. David Hockney: A Matter of Perspective, Singapore Art Museum, July 1–September 9, 2017. Happy Birthday, Mr. Hockney, The Getty Museum, Los Angeles, June 27–October 15, 2017. David Hockney: The Yosemite Suite, Galerie Lelong, Paris, May 20–July 13, 2017. (Catalogue) David Hockney: The Yosemite Suite, Pace Palo Alto, California, March 30–May 7 (extended through June 11), 2017. David Hockney, Tate Britain, London, February 9–May 29, 2017. Traveled to: Centre Pompidou, Paris, June 21–October 23, 2017; The Met Fifth Avenue, New York, November 27, 2017–February 25, 2018. -
York Museums Trust Performance Report: October 2010 – March 2011
York Museums Trust Performance Report: October 2010 – March 2011 Executive Summary 1. York Museums Trust has continued to grow visitor numbers and invest in the collections and buildings, which are owned by the city of York, and managed by YMT on the city’s behalf. We have developed great partnerships within the city and region, and play an important role in promoting the city as a tourism destination. We add value to the residents of York through our learning programmes, exhibitions and displays, venues and events and our improvement in the Museum Gardens are visible and accessible to everyone. An important part of our work is to bring new funding into the museums so that we can continually improve the visitor experience. The continuing support of the City of York Council is crucial in our credibility with business and trusts and foundations. 2. York Museums Trust is currently progressing with two major capital developments, at York Art Gallery and at York Castle Museum. We have long recognised that the key to YMT’s financial future is the continually popular York Castle Museum, and the reason this remains so popular is that we try to refresh the visitor offer every year so that it remains a ‘must see’ attraction. The highlight for most visitors to the Castle Museum is Kirkgate, the recreated Victorian street. We have refreshed this over the years, and we feel now is the time to extend the street, and introduce visitors to ‘real’ people who tell us more about life in the Victorian age. This is involving public consultation and partnership working with the Rowntree Society, the two universities and many more local interest groups. -
David Hockney
DAVID HOCKNEY David Hockney (b. 1937) • Born in Bradford, went to Bradford Grammar School and Bradford College of Art. He was born with synaesthesia and sees colours in response to music. At the Royal College of Art he met R. B. Kitaj • 1961 Young Contemporaries exhibition announcing the arrival of British Pop art. His early work shows expressionist elements similar to some Francis Bacon. He exhibited alongside Peter Blake (born 1932), Patrick Caulfield and Allen Jones. He met Ossie Clarke and Andy Warhol. • He featured in Ken Russell’s Pop Goes the Weasel with Pauline Boty (pronounced ‘boat-ee’) • Hockney had his first one-man show when he was 26 in 1963, and by 1970 (or 1971) the Whitechapel Gallery in London had organized the first of several major retrospectives. • He moved to Los Angeles in 1964, London 1968-73 and then Paris 1973-75. He produced 1967 paintings A Bigger Splash and A Lawn Being Sprinkled. Los Angeles again in 1978 rented then bought the canyon house and extended it. He also bought a beach house in Malibu. He moved between New York, London and Paris before settling in California in 1982. • He was openly gay and painted many celebratory works. It 1964 he met the model 1 Peter Schlesinger and was romantically involved. In California he switched from oils to acrylic using smooth, flat and brilliant colours. • He made prints, took photographs and stage design work for Glyndebourne, La Scala and the Metropolitan Opera House in New York. • From 1968 he painted portraits of friends just under life size. -
Exhibition on Screen - Exhibition on Screen
Exhibition on Screen - Exhibition On Screen: David Hockney At The Royal Academy Of Art Exhibits: A Bigger Picture, 2012; and 82 Portraits and one Still Life, 2016 2016, Run Time 88 minutes Widely considered Britain's most popular artist, David Hockney is a global sensation with exhibitions in London, New York, Paris and beyond, attracting millions of visitors worldwide. Now entering his 9th decade, Hockney shows absolutely no evidence of slowing down or losing his trademark boldness. Featuring intimate and in-depth interviews with Hockney, this revealing film focuses on two blockbuster exhibitions held in 2012 and 2016 at the Royal Academy of Art in London. Director Phil Grabsky secured privileged access to craft this cinematic celebration of a 21st century master of creativity. "This illuminating documentary portrait details the undimmed curiosity and enthusiasm of the grand old man of British painting..." - Andrew Pulver, The Guardian Works: Grand Canyon with Ledge Arizona, Oct. 1982; Collage #2 Made May 1986 A Closer Grand Canyon, 1998 Mullholland Drive: The Road to the Studio, 1980, inkjet photographic reproduction of the painting Bigger Trees Near Warter, 2007: Royal Academy of Arts Summer 2007 Fields, Eccleshill, 1956 Bolton Junction, Eccleshill, 1956 Flight into Italy, Swiss Landscape, 1962 Rocky Mountains and Tired Indians, i965 Nichols Canyon, 1980 The Road to New York Through Sledmere, 1997 Salts Mill, Saltaire, Yorkshire, 1997 Garrowby Hill, 1998 Midsummer East Yorkshire, 2004 A Closer Winter Tunnel, February – March 2006 Woldgate Woods III, 20 and 21 May 2006 Woldgate Woods, 6 and 9, November 2006 Woldgate Woods, 21, 22 and 29 November 2006 Woldgate Woods, 26, 27 and 30 July 2006 The Big Hawthorn, 2008 Winter Timber, 2009 Felled Trees on Woldgate, 2009 The Arrival of Spring in Woldgate, East Yorkshire in 2011 (Twenty-Eleven) Oil on canvas, 144 x 384 inches. -
Oblique White Lines
The Avery Review Miles Gertler – Oblique White Lines Before us, downstage, there is an expansive Citation: Miles Gertler, “Oblique White Lines,” in the Avery Review 37 (February 2019), https://www. infinity pool. Perhaps there are inflatables? averyreview.com/issues/37/oblique-white-lines. Perhaps not. Upstage there are five poolside chaises longues. Behind those, a glass wall and a sliding door leading to a stark white room that may or may not have art on the walls. When the door is slid closed you can’t hear what’s being said behind it. FRANKLIN stands in the middle of the room looking around. He is dripping wet and wearing only a Speedo. He’s a bit more than drunk. —Jeremy O. Harris, Daddy (2015) [1] [1] Jeremy O. Harris, Daddy, Act 1, Scene 1. Jeremy O. Harris’s Daddy, the playwright’s latest work to open in New York, col- lides distant parts of the American landscape—the black American South and the ever-so-white Bel Air—in “distorted self-portraiture” of the script’s author, Scenic design model for Daddy’s debut professional staging in New York, 2019. Courtesy of Matt Saunders. 1 The Avery Review that also reflects the mode of collage that defines one of the play’s formative artistic precursors, David Hockney’s 1972 Portrait of an Artist (Pool with Two Figures). [2] Daddy instrumentalizes the midcentury modernist villa, one of Los [2] In a text message with the author, Harris stated, “it’s more like distorted self-portraiture” (February Angeles’s most enduring architectural tropes, as one of the play’s stars. -
Catalog Essay
On Not Cutting Corners Lawrence Weschler fig. 1 For starters, he’s emphatically not cutting corners, as the wags would have it. Or Red Pots in the Garden, 2000 oil on canvas, 60 x 76" so David Hockney likes to insist these days, adamantly. If anything, he says, he’s multiplying them, and opening fresh vantages in the process. Garden with Blue Terrace, 2015 acrylic on canvas, 48 x 72" A good place to have gotten a sense of what he’s been getting at, recently, was Garden #3, 2016 acrylic on canvas, 36 x 48" in the last room of the last iteration of his 2016–18 world-traveling retrospective (the one that started at the Tate in London, moved on to the Centre Pompidou in Paris, and concluded this past winter at the Metropolitan Museum of Art in New York, closing just a month before the opening of this current show of new work, sixty blocks south, here at Pace). That room at the Met consisted largely of a series of variations on the blue deck overlooking the garden and pool at the back of his Hollywood Hills home, one of his favorite subjects over the past several decades. (Indeed, not long after he moved into the home in 1979, he first painted it, from memory, while back in London on a visit; disap- pointed, upon his return to Los Angeles, at the way that the vibrant colors of his London recollection didn’t quite match the house, he took to repainting the house itself, its interiors and decks and brick walls and pool, in much more vivid hues, the very colors that came to infuse his subsequent domestic studies.) But the way the relatively recent blue-deck paintings were laid out in that last room at the Met retrospective, you could see that he seemed to be wrestling with a problem: how to convey the capacious spaciousness of the vantage in question (or, perhaps phrased a bit more technically, how to wrestle free of the confining strictures of tapering, camera-like, one-point perspective) [fig.