Wednesday, 5 October 2011

"ihockney"


Cover of June 1993 Vanity Fair by David Hockney



 Cover of the Nov 2010 issue featuring Mr. Hockney's ipad art




Later this month Mr. Hockney will be visiting Canada to celebrate the opening of a new exhibition of his ipad drawings.

The exhibition at  the Royal Ontario Museum (Running from Oct 8) will show works which appeared previously in Paris at the Fondation Pierre Berge - Yves St. Laurent and most recently at Lauisiana.

I'd love to go, obviously, but IN THIS ECONOMY (readers of dlisted will catch my reference here) I fear I stand no chance.

The "ihockney" title of this post is a direct quote from Hockney, which I found in the Nov 2010 issue of Vanity Fair and is the name he gives to his ipad works of art, which I think is very funny.

How is he this cool?

Whilst looking through past issues of Vanity Fair online I came across the most glorious Hockney Cover (a photograph of his shoes) again I ask the question...

How is he this cool?

To see more references on Mr. Hockney visit Vanity Fair online and put his name in the search - it's a good time spent looking at the archive covers too  www.vanityfair.com

More on Pierre Berge and Yves St. Laurent to come, needless to say they are idols of mine.

Monday, 3 October 2011

From tiny saplings






Three months ago, I was privileged enough to sneak a peek as 'Bigger Trees Near Warter' was being put up at Ferens, the day before the preview. A preview of the preview, if you will.  Mr Hockney's trees, and the gallery itself, began to cast a spell on me that day (but that's a whole other story...one that I hope has been told through my blog posts during the time 'Bigger Trees...' were in Hull). Last week, I was able to mark the end of our journey together by seeing all 50 panels individually encased in protective wooden boxes, waiting to be replanted where Mr Hockney himself began his own journey. And while I can't pretend it didn't make me a little (OK, a lot) emotional at the sight of the blank wall where the trees once grew, I was excited at the prospect of seeing them in their new environment.

Because the day after 'Bigger Trees...' closed to the public at Ferens, members of the Hockney Research Group headed to Cartwright Hall in Bradford, at their kind invitation, after a member of the group offered the branch of friendship (sorry, couldn't resist), offering to share our experiences, in the hope of benefiting their volunteer experience. The photo above is one I took on approaching the Hall, which we learned was a purpose-built gallery, which is situated in the beautiful Lister Park. Mr Hockney's trees won't be lonely, surrounded by so many of the real things! We were allowed to look around the room where the trees will thrive for 6 months, and my not very articulate, yet instinctive reaction was: "Oh. My. God." Then I got out my camera -  It was breathtaking - the high windows, domed roof and natural light promise to create a whole new set of effects upon the canvasses. I was surprised to learn that Bradford would be showing the painting on a purpose built wall too, as we had been led to believe that the Ferens would be the only place where it would be displayed that way. But, excitingly, at Cartwright Hall, the curve of the wall will display 3 panels at each side, as opposed to the 2 at Ferens. This promises to create a whole new way of experiencing the trees.

The gallery was closed to the public on the day we visited, so we were treated to a private tour of the Hockney works in their collection: 'Bolton Junction, Eccleshill' (painted when Hockney was studying at Bradford School of Art, depicting a Bradford scene), 'Gordale Scar Yorkshire Jan', a selection of graphics inspired by Picasso, and, my personal favourite, 'Le Plongeur'. Approaching the room it was housed in, and being hit by the colours and ripple effects of the water, was really special. We were also shown works by David Oxtoby, who was at Bradford School of Art with Hockney. It was really interesting to have the links and contrasts between the two highlighted to us. Also on display, and of personal interest to me, were a Warhol 'Marilyn', a Lichtenstein and a Lowry, among many others. We were also given a peek at the 'Other Trees' exhibition, which was being hung, which will accompany 'Bigger Trees...'. The gallery describes how "on display will be artworks in a range of media including 'The Lemon Tree' by Henry Scott Tuke painted en plein air; a life-size Kadam Tree woven from wicker as well as Art Nouveau furniture by Christopher Pratt of Bradford and carved wooden birds."

It was lovely to share our volunteer experiences with the staff at Cartwright Hall - it really brought home to me what an amazing experience it had been (and take my mind off the trees' imminent departure), and the feedback we received indicated that the spell the trees cast at the Ferens was already rubbing off on their next, and final, audience. As we drove past Bradford Grammar School, down the road from Cartwright Hall, it felt entirely fitting to make the link between where Mr Hockney began, as a sapling, and the recent work where we can see what he grew up to become - a mighty sycamore. I returned to Hull, to a blazing orange sunset over the Ferens, knowing the trees were still inside. Our journey together was almost over. It was time to begin new ones. The pieces are still the same. Bur from now on they will look slightly different.

'Bigger Trees Warter' is on display at Cartwright Hall, Bradford, from 1 October 2011 - 4 March 2012, ending its year long tour of Yorkshire, as part of 'Art In Yorkshire' sponsored by the Tate, who Mr Hockney donated 'Bigger Trees...' to on his 70th birthday, as a gift to the nation. 'Mr Hockney In Hull'  would like to thank everyone we met at Cartwright Hall for their kind invitation and warm welcome, wishes them every success in displaying the painting, and hopes Mr Hockney in Bradford will bring as much magic as he did to the Ferens. 

POST AUTHOR CM

Monday, 26 September 2011

Waiting for November



In a previous post I wrote about the Masterpeice a Month exhibition at the Dulwich Picture Gallery. The above image of Constable's The Leaping Horse is a taster for the real thing which is all set for October. It really will be something to see the Constable - but what I'm excited about is November!

Mr Hockney's Mr and Mrs Clarke and Percy will be the masterpeice for November, not long to go now...

London is a most vibrant and powerful place to live or to visit - and yet Hull, our very own amazing city has a Constable and an early Hockney - you can go and see them any time at the Ferens Art Gallery for free.

The Constable is currently in Gallery 8 (which is closed for a few days but open next week) in the Landscape exhibition.

The Hockney is currently in Gallery 9

If you can make it to London in Nov there is a talk to go with Mr and Mrs Clarke and Percy exhibition, for more details have a look here http://www.list.co.uk/event/20226063-david-hockney-mr-and-mrs-clark-and-percy-lecture/

Thursday, 22 September 2011

Last chance for Cy

A little reminder should you wish to catch the Twombly and Poussin exhibition at Dulwich, which ends on the 25th Sept.



Wednesday, 21 September 2011

...

In Memoriam ‘Bigger Trees Near Warter’
 
So.
Farewell then
‘Bigger Trees’
Painted by
Hockney
 
Who has painted other things
But not as big as this
This is the biggest
 
To Bradford you have gone
You have left a space
A big space
 
Can it be filled?
 
Or not?
 
We shall see
 
ADL (After EJ Thribb)

 Post author ADL

STATS!

Hockney’s ‘Bigger Trees’ by Numbers!

A retrospective statistical analysis by one casual observer

63,000+     The number of people viewing the painting during the exhibition

18,576       The number of trees, twigs and branches drawn on the painting
                 by David Hockney

268            Number of people who asked, "What is it worth?"

157            Number of people who asked, "What are the curtains for?"

74             David Hockney's age as of 9th July 2011

69             David Hockne's age at the time of the completion of the painting

67.874%    Percentage of people (including David Hockney himself) who
                 enjoyed the feeling of being 'enclosed by the painting

67             The number of times Mr. Hockney says "...err..." or
                "...erm..." during the video - 'The Making of..."

55            The humidity co-efficient maintained as specified by the
               Tate Gallery during the exhibition

50            The number of canvasses which made up the picture.
               Each canvas was 36x48" or 3x4' in real money
               This corresponds to: 918x1,225mm; 91.8x1225.5cm or
               0.918x1,225m
               In total This is 15x40' or 5x33 1/3yrds, corresponding to:
               4590x12,250mm; 459x1225cm or 4.59x12.25m
              (That's enough statistics - ED)
               Sorry- ADL

43           Number of people who asked, "Is it true that they've been
               cut down now?"

33.183%  Percentage of people who preferred it in York

30           Number of canvasses 'covered' by big central tree

23.729%  People who ststed that they wished that they could have
               seen it further away

23           Number of people who claimed to have seen/met Mr. Hockney
               in Bridlington

12.786%  Percentage of people who had shopped at 'Primark'
               previously to viewing the painting

7             pH maintained as specified by the Tate Gallery during the
              exhibition

6            Number of weeks taken from conception to completion

4.186%   Percentage of people who saw the 'Making of...' video, saw
              the photographs, thought "Was that it" and walked away
              without seeing the picture

2            Number of times David Hockney appears in the first
              'posed' picture at the Royal Academy at the end of the
            '  Making of...' video

0            Number of times I want to see or hear that video again

N.B. Some of these statistics may be taken with a huge portion of salt.
Post Author ADL

Mr ADL strikes again.

Tuesday, 20 September 2011

Over The Rainbow




At around 3pm today, the sky above 'Bigger Trees Near Warter' darkened. It threw eerie shadows through the domed roof across the painting, as if to remind us that the hour was approaching....The last member of the public to see it was as reluctant as we were to leave the forest for the last time. I drew back the curtain and felt like the Pevensie children when they leave Narnia for the last time through the wardrobe and can't return, as I stepped out onto a stormy, rain-soaked Queen Victoria Square. I returned home and, making myself a consolatory brew, looked out of the kitchen window. I was overwhelmed by what I saw, then rushed to grab my camera and umbrella. As Mr Hockney once remarked:  "Nature never lets you down"

Post Author CM

All roads lead back to Mr Hockney



Having just left Ferens after my penultimate 'Bigger Trees..'  invigilation stint, I finally got round to buying this month's 'Harper's Bazaar' magazine. I bought it on the strength of the 'Alexa Chung meets Marianne Faithfull'  coverline, and articles on Lucien Freud and Jenny Saville (plus a gorgeous Tracey Emin neon artwork illustrating a Jeanette Winterson story). So plenty to make it worth buying. It was only when I began reading the Alexa Chung article that I discovered an even more exciting reason, by chance - the photos accompanying the article were shot in David Hockney's 1960s Notting Hill flat! As Stephanie Rafanelli writes "it was here that Hockney lived and worked in his 'Young Contemporaries' days (the 1961 RBA Galleries exhibition alongside Peter Blake that marked the beginnings of British Pop Art), and where Andy Warhol later attended the artist's notorious Saturday tea parties, filming the Swinging London scene". To see the place (still intact) where things I wrote about on this blog happened was yet another thrilling insight into Mr Hockney's world.

Later that evening, I was checking my emails, and had another one - via Artist and Illustrators magazine's monthly email.  It linked to Editor Steve Pill's blog post about the press conference for next year's Royal Academy show. It's well worth reading (follow the link below), and I especially loved this observation: "in some special cases being creative isn't something that you can turn on and off, it's an unstoppable torrent that pours out at all times." Quite. The magazine will be running a full report and interview in its November issue.

 
Post Author CM
 
What a great flat!
 
The above photo is by the amazing photographer Ellen von Unwerth and is taken from this months Harpers Bazaar Uk http://www.harpersbazaar.co.uk/
 
 

Sunday, 18 September 2011

ALL GOOD THINGS...

Perhaps.

The ever beautiful Bigger Trees Near Warter will travel to a new space.

How wonderful that it came to Hull.

As for Mr. Hockney In Hull...we are not quite ready to leave.

Thursday, 15 September 2011

Still In Vogue after 26 years




After subscribing for 13 years, it's still exciting to hear a new issue of 'Vogue' thud through the letterbox. And even more exciting still to see an article in the contents on this blog's inspiration, and the woman who has been written about most on this blog too, the equally inspirational Celia Birtwell. I've loved digging out my old issues to re-read articles for the purposes of this blog, as well as discovering NM is a fellow Vogue hoarder and discussing them with her. And, for the first time, be right in sync with' Vogue'! And while we curse ourselves for not buying that iconic Celia cover 1985 Paris Vogue (I'd only recently stopped reading 'Twinkle' magazine back then, and it did become a collectors' item after only 3 months.' Vogue', not Twinkle), the fact that both Hockney and Birtwell are still in 'Vogue' and the closest of friends after all these years speaks volumes about them both as artists and friends.

While I'll try not to spoil the article for you, and would encourage you to go out and buy it yourself (it's worth it for the pictures alone), I will say that I was delighted to discover new insights about Hockney and Birtwell's enduring relationship. Not least that they were friends with the other's partner (Birtwell was friends with Peter Schlesinger and Hockney with Ossie Clark), rather than each other initially and yet it is their subsequent friendship which has survived. Christopher Simon Sykes quotes Hockney saying that "(Celia)  is very, very sympathetic and she knows how to make me laugh. She plays with words, which I like, and she has a sense of the absurd. We got very close and I suppose I was in love with her". Simon Sykes observes that "Her gentle feminine side strongly appealed to Hockney...As they comforted each other, he began to transfer the feelings he had for Peter on to her." Of Hockney, Birtwell says "I think he found we spoke the same language about his unhappiness and broken heart, so he used me as his confidante...He's been very supportive, encouraging me to be brave and show my talent. We have a really good friendship..I like my relationship with him. He makes me laugh and he thinks I'm quite funny. So that's good." While the article never makes clear the exact nature of their relationship when Hockney was imortalising her in his art most prolifically (and it's none of our business anyway), it is fascinating and deeply inspiring to observe how two visionary, iconic working class northerners who dreamed of bigger things went on to influence the worlds of art and fashion and each other, continuing to this day.

Post Author CM

I have one question, Twinkle Magazine? Its a new one on me, it was all Bunty and The Four Maries when I was a kid!