David Hockney Research Articles

Aestheticism and Admiration for Beauty beyond Montage: Reading Virginia Woolf and David Hockney

Aestheticism and Admiration for Beauty beyond Montage: Reading Virginia Woolf and David Hockney

The Good Shepherd. On Endre Bálint’s late photomontages

In this paper I analyse the photomontages of Endre Bálint (1914–1986) in the context of the cultural politics of the Iron Curtain period in Eastern Europe and Hungary. First, the study takes a diachronic, historical approach to photomontage as a creative method that maintained continuity between the avant-garde generations of artists, a way of thinking and a creative process accordingly, cultivated in the circles of persecuted, banned or silenced artists experimenting during the decades from the 1920s to 1970s. Second, by placing Endre Bálint’s late photomontages (made after his 1963 return from his “exodus” to Paris) in the context of contemporary artistic phenomena (e.g. Brecht’s photobook, Jean-Luc Godard’s work, David Hockney’s montages or bricoleur punk artists), I argue that, in contrast to the generally held view, they are not the withering signs of renunciation, but rather a way out of renunciation, that is, a solution. “We breathe in fragments,” Bálint wrote, and the pictorial form to fittingly reflect a fragmented way of existence (together with the psychological burdens, shadows of the past, and the social and cultural-political determinations) was the montage-technique that had flourished from the 1920s, and whose Eastern European, distinctively Hungarian variant found its guardian, its good shepherd in Bálint, in his creative practice. Bálint’s late photomontages also deserve attention from the point of view of a silent narrative of art history, which does not focus on middle-aged artists’ major works, but on the profuse production by the old masters, the masters of sprezzatura, which is characterised by an aesthetic lightness, a kind of aesthetic liberation and swiftness, and the ability to allow memories a free influx into the creative work. One of the conclusions of this study is that Hungarian photomontage, and especially the late work of Endre Bálint, can be instructively read in conjunction with the equally restrained psychoanalytic literature of the period, in which the splitting of Self as a traumatic consequence of shocking events and also a means to survive those events is a key concept. A critically productive artistic construction that is based on fragments can be seen and read as the visual counterpart of a psychological notion of Self-splitting.

«Бьюти-пространство» Боттичелли, поп-арт и гностики (к вопросу о становлении классического искусства)

<p>The article continues the series of publications by the author on the art of the Renaissance and the work of Botticelli. The author's concept of “classical art” allows us to establish closer connections with subsequent stages of artistic development, as well as with the Early Renaissance. The multi-level structure of Botticelli’s art and the “collage” nature of his works are substantiated. The “universality” of the classics correlates with the gaming strategies of Neoplatonism and Gnosticism. The features that bring the intellectual culture of the Renaissance closer to modern scientific and artistic trends are revealed. New contexts and parallels (Michael Psellus, Honore de Balzac, Arthur Schopenhauer, Alois Riegl, David Hockney, Roy Lichtenstein) allow us to re-evaluate the transformation of the Neoplatonic tradition in European culture. The author rejects rigid interpretations of Gnosticism and Neoplatonism in connection with the work of Botticelli, preferring an “aesthetic” or “poetic” reading. Within the framework of this essentially psychological approach, the author draws attention to the problem of “presence” (“life-likeness”), characteristic of both medieval and modern art. Social issues of interpretation of classical art are touched upon in the article in connection with elements of elitism in the culture of the Medici circle. The concept of “poetry”, developed by Petrarch and Boccaccio and going back to ancient prototypes, is fully consistent with this type of “court” culture, which played a decisive role in the development of classical art. The "decadence" of the late Quattrocento and the work of Botticelli as its highest expression were thus the result of very complex intellectual strategies that were continued during the High Renaissance and Mannerism. Particular attention in the article is paid to the revision of the usual views on the historiography of the Renaissance, the actualization of classical art historical concepts. The article returns to the problem of the origins of the semiotic concept of art. Pragmatism and the “irrational” concept of art (appealing to the unconscious) turn out to be quite compatible, that has particular theoretical significance for the revaluation of conventional approaches to the classical heritage.</p>

David Hockney의 디지털 드로잉에 담긴 교육적 의미와 초등 미술교육 연계 방안 연구

Objectives This study clarified the effects of digital drawing on art education for elementary school students in a social environment in which the development of digital technology and the transition to the digital environment are accelerating, and suggested a teaching plan for art classes using digital drawing.
 Methods To this end, the necessity and meaning of art education using digital media were first considered by reviewing previous research and educational theories. In order to derive a plan to apply digital drawing to elementary school art education, David Hockney’s works were analyzed and his art view was reviewed through literature and interview data.
 Results Through this, playfulness, formality, and connectivity were derived as art educational effects contained in digital drawing. First, art education using digital drawing allows art to be enjoyed as play rather than study. Play elements of digital drawing The playful element of digital drawing promotes learning motivation and reduces learning burden.. Second, art education using digital drawing facilitates exploration of various colors and shapes. And it is possible to modify as much as possible during the creative process, so there is no need to worry about mistakes and failures. Children can be more immersed in expression and ideas. Third, art education using digital drawing enables convergence activities that connect art and technology, art and daily life, and time and space by using media familiar to digital native.
 Conclusions Based on these effects, this study reached the conclusion that elementary school art education using digital drawing meets the essential purpose of art education in that it motivates learners to learn and discover aesthetic characteristics in themselves and surrounding objects. In addition, this thesis emphasized that such art education corresponds to the trend of the digital age.

David Hockney and the Study of the Observation Mode of Contemporary Painting

David Hockney and the Study of the Observation Mode of Contemporary Painting

The Influence of William Hogarth on Later Generations

The Influence of William Hogarth on Later Generations

All that is solid melts in the Ethereum: the brave new (art) world of NFTs

ABSTRACT This article explores non-fungible tokens, better known as NFTs, or blockchain-based certificates of ownership for visual or physical assets, a cultural phenomenon which has come to the media attention following the sale of a non-fungible token photo collage, Everyday: The First 5,000 Days, for more than 69 million USD at a Christie's auction in March 2021. The sale made Mike Winkelman (aka Beeple) the third most valuable living artist, behind Jeff Koons and David Hockney starting off a conversation about NFTs which has covered a wide range of issues, including: the contested relationship between art and the market, the long debated question of collective and/or individual authorship within digital aesthetics, the most recent developments in Artificial Intelligence and their creative potential with regard to NFTs – i.e. the appearance of intelligent non-fungible tokens (iNFTs) – and, lastly, the role of cryptocurrencies as a tool for artists’ empowerment or, conversely, as a selling out, under new technological guises, to the capitalist logic of the market. The article reviews and evaluates such debates with the aim to offer critical pointers to help the reader navigate the emerging world of Crypto art.

What is Art?

This paper investigates non-fungible tokens, or NFTs, and examines their place within art historical canon. Crypto-art and crypto-collectibles have flooded digital markets, offering unique art. Recently, Beeple’s Everydays—The First 5000 Days, the first digital artwork fitted with a non-fungible token offered by the major auction house Christie’s, sold for $69,346,250 on March 11, 2021. It is the third most expensive artwork sold by a living artist, following Jeff Koon’s sculpture Rabbit (1986) and David Hockney’s painting Portrait of an Artist (Pool with Two Figures) (1972). While Jeff Koons and David Hockney are the artists, whose theoretical perspectives are well known and have a secured place in an art historical canon, Beeple’s work and works of other digital NFT artists have not been fully investigated to be positioned in relation to art history, seemingly existing in a theoretical vacuum. The absence of artistic statements that usually accompany artworks contributes to this effect. Is it possible to think of the 21st century NFT-backed digital artists as the avant-gardes, who, like their 20th -century predecessors, confronted and condemned the art historical tradition? Using the case study of Beeple’s Everydays, this paper proposes an answer to the puzzling question of how a mosaic of everyday sketches produced by “pooping something out in 45 minutes,” using Beeple’s own words, was claimed to be “the next chapter in art history.” Using historical and textual analyses, this essay provides a critical response to the recent digital artworld trends driven by the decentralized networks and currencies existing in fully digital ecosystems.

Pacific Palisades

Pacific Palisades Erin O'Luanaigh (bio) It's California: we've reached the end of taste.We're strolling on the Getty Villa's bluff,its merit weighed against the megalithic wasteof historic reproduction. (What's Egyptianabout the Egyptian Revival; Parisianin the Vegas Strip's Arc de Triomphe?) A super-sized riff on the Villa dei Papyri("The original, at least, was blown to ash,"we console ourselves beneath a marqueehawking lattes) with a lobby built to recallan excavation, its galleries house the haulof the thinking man's robber baron: a cache of Herakleses, kouri, hydra'd hydrias,a replica of a Pompeii fountain mappedwith West-Coast shells, the coinage of Illyria,Cycladic figures, the alleged "Mazarin" Venus,gardens with herbs of ancient Roman genus,a satyr reclining as in a Kardashian snap… Visitors pose so thickly in the peristyles,we struggle to escape another's selfie;still, in an atrium frisbeed with sundials,I admit equal beguilement by counterfeitand bona fide alike: "Who's to say what's legit?A Roman original is a Greek man's copy." [End Page 111] ________ Called back from antiquity to the trafficrumbling below, where mention of Inceville'sstudio passes for ancient history (its epics:Civilization—widely deemed low brow—and The Italian, whose hero nosed the prowof a gondola down Venice Beach's rills), or further up, where once lived Brecht,Adorno, Schoenberg, and the magic Mann(all told: the Weimar by the Sea) in glass-deckedhouses out of David Hockney, we list,verklempt, out of the Villa's gate. The novelist,when not apprising Hesse of his wanton lawn (the Eden in which he'd torment Leverkühn),partied with Cagney, Jack Warner, Berlin,and handed tassen to a young Sontag, soonto take the devil's bargain for her own art.We quote her missive on allusion, that no partof any work is new, that all is reproduction… Across the highway, we sink through coastal sageto watch the sunset on the "proper" shoreagainst outcrops dated to the Miocene Age.Like good Easterners, we shield our eyesfrom the vulgarity of pleasure, the paradiseunearned, the honest falsehood, the easily-adored. [End Page 112] Erin O'Luanaigh erin o'luanaigh is a poet whose work has appeared in The Southern Review, Subtropics, AGNI, 32 Poems, The Hopkins Review, and The New Criterion, among other journals. She is co-host of the film and literature podcast (sub)Text. Copyright © 2022 Yale University

데이비드 호크니, 미적 표현의 혼용 - 60년대 후반 로스앤젤레스 시기의 작품을 중심으로 -

본 논문은 60년대 후반 데이비드 호크니(David Hockney, 1937-)의 로스앤젤레스 시기 작품들에서 읽혀지는 구상과 추상을 확인하는 것에 의의를 둔다. 이 시기의 호크니 작품은 자신과 가까운 인물들을 작품의 주요 소재로 삼는다. 회화 속 인물은 전통적 구상 회화의 것을 따르는 것 같기는 하지만 완전한 재현의 결과물은 아니다. 그는 인물의 표현을 구체화 시키는 방법으로 사진이라는 매체를 보조 수단으 로 활용하는데, 이는 구상 회화적 특징인 재현과 내러티브를 연상시킨다. 이와 함께 호크니는 구상의 상대적 개념으로 등장한 추상을 자신만의 방식으로 활용한다. 그는 캔버스 위에 자신의 작품을 하나의 이미지처럼 배치하고, 추상 회화의 작품들을 차용하여 회화 속 공간을 채운다. 이는 그린버그(Clement Greenberg, 1909-1994)가 강조하는 미술의 절대적 속성인 평면성(flatness)의 표현이다. 현대적 의미에 서 구상과 추상의 경계를 나누는 일은 시대착오적인 이분법적 사고로 이해될 수 있다. 그럼에도 불구하 고 그가 활동했던 시대적 상황에 견주어 보았을 때, 자신만의 방식으로 구상과 추상을 흡수한 호크니의 독자적인 방식을 분석하는 일은 당위적이다.

Bloomsbury in Winter—2020

Bloomsbury in Winter—2020

A Study on the Gaze in David Hockney's Double Portrait

A Study on the Gaze in David Hockney's Double Portrait

Books: Spring Cannot be Cancelled: David Hockney in Normandy: Hope and Solace.

Martin Gayford Thames and Hudson Ltd, 2021, HB, 280pp, £25.00, 978-0500094365 Martin Gayford is an art critic and historian who has known David Hockney for over 20 years. In 2010, Gayford published Man With a Blue Scarf: on Sitting for a Portrait by Lucian Freud , a fascinating exploration of painting and the lives and work of artists, based around conversations during the 250 hours he spent sitting for his portrait by Lucian Freud. In Spring Cannot be Cancelled: David Hockney in Normandy , a series of email and telephone exchanges between Hockney and Gayford during most of the lockdown period of the pandemic forms the skeleton of an arresting and entrancing account of Hockney at work in Normandy, and both men’s reflections and ruminations on some of the big, and not so big, questions in the visual arts. Visiting Normandy with …

The Power of Assembly

The Power of Assembly

DAILY OBJECTS AND POPULAR CULTURE IMAGERIES IN DAVID HOCKNEY’S WORKS

The aim of this research is to investigate the reasons why David Hockney addresses daily objects in his works. At the same time, it aims to reveal the nature of the relationship between popular culture and daily objects. Thus, the types of differences between Hockney and his contemporaries will be identified; while determining how pop artists reflect popular culture on their works. The scope of the research includes an analysis of David Hockney’s works. By including works from artists such as Henri Mattise, Andy Warhol, and Fikret Mualla; their relation to the subject has been presented. The subject of this research bears importance in terms of providing a criticism of current issues that are based on daily objects in art. Therefore, the research is divided into artists and eras that can serve as a reference for daily objects and popular culture imageries. The research problems can be listed as: what are the characteristics that separate David Hockney from his contemporaries, why does David Hockney require daily objects in his art works? What is the nature of the relationship between daily objects and popular culture? Are daily objects in art a product of popular culture? In what context do the works of Hockney and Matisse show similarities? What is the connection between daily objects and Duchamp? Are daily objects in art a critique of modern art? It is expected that the answers to all these questions will shed a light on popular culture imageries and art today, along with David Hockney’s works. Thus, once more, this study intends to create awareness to the association of “art and life,” which is frequently used alongside modernism. Keywords: Popular culture imageries, daily objects, David Hockney, mass culture, art and life

Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya

In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.

Fourteen Poems by C. P. Cavafy, chosen and illustrated by David Hockney, translated by Nikos Stangos and Stephen Spender (1966–67)

Review of: Fourteen Poems by C. P. Cavafy, chosen and illustrated by David Hockney, translated by Nikos Stangos and Stephen Spender (1966–67) London: Editions Alecto, Edition A, Folio, illustrated with 12 etchings bound and 1 loose etching, cotton silk boards and silk slipcase, limited edition item

Selective Preparation of Canvas as an ‘Artistic Device’ in David Hockney’s Early Paintings (1964–1972)

In the mid-1960s and early 1970s, David Hockney opted for a particular application of primer in the ground layers of some of his paintings — that is, a partial or ‘selective’ type of preparation. By selectively preparing certain areas with one or more layers of (gesso) priming, Hockney introduced a slightly higher and white pictorial plane in selected areas while retaining the properties of raw canvas in others. In one of Hockney’s most discussed paintings, Portrait of an Artist (Pool with Two Figures), for instance, selective preparation divided the surface and set the stage from the ground up. This paper examines the impact of this highly original and hybrid formula on perception by the viewer, focusing on how the eye registers the change in properties of the paint layer. It outlines Hockney’s investigation of the primed/unprimed opposition through the use of selective preparation, and the variety of effects it allowed him to achieve in one canvas. From its anecdotal use in 1960s road trip paintings to its more pronounced use in pool paintings in which Hockney used unprimed canvas to convey the ‘wetness’ of water, selective preparation was a device for him to compellingly increase contrasts and tension. Far from producing mere formal effects or serving solely as citations (of stain paintings for instance), the perceived technical oddity produces meaning. From the ground layers up, it deeply influences the perception, and thus the interpretation of the discussed paintings.

The making of Paula Rego’s ‘The Nursery Rhymes’

In 1989 Rego embarked on her first major sustained printmaking project, The Nursery Rhymes for which, over a period of three to four months, she produced over 30 etchings and aquatints. [i] This series of prints have achieved both critical acclaim and widespread popularity, rare for contemporary prints (with the exception of perhaps David Hockney’s series Rake’s Progress (1961–3), or Andy Warhol’s Marilyn Monroe (1967)).
 This paper looks at the circumstances that led up to the series, how the prints were made and how they were viewed. It also reflects on the imagery both in terms of personal iconography and its references to a wide range of graphic work. It does so from my unique perspective as the printer and collaborator in the project. As Rego herself explained:
 I had made some etchings in the 1950’s and 1960’s, and some lithographs in the early 1980’s but it was only in the late 1980’s that I took up etching seriously. Paul Coldwell, who ended up printing most of my etchings, had set up a little studio in his kitchen. He had married Charlotte Hodes, who had been my tutee at the Slade and who I was friendly with, and he said, ‘Why don’t you come and do some prints?’ So I did. (Alfaro et al. 2019)

Multiplying Figures

Research Article| March 01 2020 Multiplying Figures: Oscar Rejlander and David Hockney Judith B. Herman Judith B. Herman Judith B. Herman is an artist and writer based in Los Angeles County who has written on art for the Los Angeles Times, Slate, and other publications. Her website is www.judyherman.com. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (1): 13–18. https://doi.org/10.1525/aft.2020.471004 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Judith B. Herman; Multiplying Figures: Oscar Rejlander and David Hockney. Afterimage 1 March 2020; 47 (1): 13–18. doi: https://doi.org/10.1525/aft.2020.471004 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search Is it art or technology? The question has bedeviled photography since Day One. Is a photograph the expression of a creative human mind or the soulless output of a machine? Two artists, one working at the infancy of photography and one working today, illustrate the absurdity of the dichotomy. Both found photographic technology not just another tool in the artist's kit, but a spur to creativity. Coincidentally, two Los Angeles art spaces recently presented concurrent solo shows of these painters who discovered a multiplicity of possibilities in photography. Each artist combined dozens of separately photographed human subjects into a single print. Both pushed the limits of photographic technology of their time. Oscar Rejlander did his pioneering work in the 1850s, at the dawn of photography. David Hockney, decades after his experiments with multiple-perspective Polaroids, remains on the cutting-edge of photography as it has advanced in the digital age. The Getty... You do not currently have access to this content.