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!

Force of Nature


Reading the BBC news website this morning provided conclusive proof, not that it's needed, of just what a remarkable man Mr Hockney is. In the last week, he has given a press conference announcing a new Royal Academy show for 2012, casually revealed that he turned down an offer to paint the Queen because he "was very busy painting England actually. Her country.", while today '25 Trees and Other Pictures by David Hockney', featuring that breathtaking new triptych (follow the link below to see pictures and a short film) opened at Salts Mill, Saltaire. As if that's not enough, today the BBC reported that "The artist David Hockney has warned road labourers in his home town of Bridlington in Yorkshire that they are digging up one of his main sources of inspiration and a piece of art history. Hockney has taken roadwork managers to his studio to show them new paintings of Woldgate, an unspoilt country lane, and tell them not to do lasting damage...
John O'Grady, communications manager for Northern Gas Networks, said he was  "gobsmacked to be invited to the artist's studio to get a preview of works that will be on show at the Royal Academy, and to be given lunch at Hockney's home". Maybe Mr O'Grady has never heard the phrase 'keep your friends close and your enemies closer'. Not only does Mr Hockney tirelessly depict and campaign for forces of nature, he continually proves to be one himself.




* Richard Hamilton, considered the founder of Pop Art, died yesterday, aged 89. He taught and influenced David Hockney and Peter Blake, and you can link to his obituaries through the link below too.





Post Author CM

Thanks so much for this. Great story.
The above picture is from the BBC website here http://www.bbc.co.uk/news/entertainment-arts-14912241 where you can view some truly great images. I love the above picture, gorgeous interior - is that a Franz Kline on the wall or one of Hamiltons own paintings?

Wednesday, 14 September 2011

Top Tunes

Thank Goodness for Hockney Volunteer and Researcher MR. ADL, without this fab post it would be Vogue all the way today!

An Imaginary Sountrack to an Imaginary film inspired by David Hockney’s ‘Bigger Trees Near Warter’


Band/Artist
Song
Highest
Position
Year
1
Roger O’Donnell
La Sentiere Secrete
-
2011
2
The Cure
A Forest
31
1980
3
Pulp
Trees
23
2001
4
Clint Eastwood
I Talk To The Trees
1
1970
5
Peter Paul & Mary
Leavin’ On A Jet Plane
2
1970
6
Horst J
A Walk In A Dark Forest
3
1965
7
Twiggy
Here We Go Again
17
1976
8
RadioHead
Fake Plastic Trees
20
1995
9
Michelle Branch
Everywhere
18
2001
10
The Warterboys
The Whole Of The Moon
3
1991
11
Ride
Leave Them All Behind
9
1992
12
Screaming Trees
Nearly Lost You
50
1993
13
Ozzy Osbourne
Bark At The Moon
21
1983
14
Roger O’Donnell
SmallBuildings (sic)
-
2011


Notes:-

  1. Roger O’Donnell’s (The Cure) introductory piece from his ‘Quieter Trees’ composition inspired by the painting describing the road to Middleton on the left of the Painting.
  2. Following The Cure connection, the Crawley trios first Top 30 hit in 1980 resulting in their first Top of The Pops appearance.
  3. A double ‘A’ side from the wonderful Jarvis and co. with ‘Sunrise’, this was Pulp’s penultimate Top 30 hit.
  4. Yes THE Clint Eastwood! The flip side of Lee Marvin’s Wand’rin’ Star infamously prevented The Beatles reaching No.1 with their last official single, ‘Let It Be’.
  5. Never a hit for it’s writer, John Denver, although it prompted litigation against New Order when it was claimed that the guitar break on their ‘Run 2’single was a breach of plagiarism.
  6. This instrumental hit written as "Eine Schwarzwaldfahrt" sold over a million copies and earned a gold disc. I still have the original 7”!
  7. Lelsey Lawson nee Hornsby aka Twiggy, a fashion icon of the 1960’s gained a silver disc for her eponymous album and is set to release her first new recordings for 35 years.
  8. The 3rd single to be released from ‘The Bends’ album was the Oxford bands 3rd Top 20 hit.
  9. The American singer-songwriters only Top 20 hit. She won a Grammy Award in 2002 for her collaboration with Santana with ‘The Game of Love’.
  10. The Warterboys (sic) biggest hit after it was re-released following it’s original peak at No. 26 in 1985.
  11. The Oxford ‘shoegazers’ biggest hit following 4 EP’s, 3 of which reached the Top 40. Guitarist Andy Bell subsequently formed Hurricane #1, becoming the bass player for Oasis and guitarist for Beady Eye – Liam Gallagher’s post Oasis band.
  12. Screaming Trees alongside The Melvins, Mudhoney and Sonic Youth, were a precursor of the ‘grunge’ movement popularised by Nirvana.
  13. The ‘Prince of Darkness’ famed for biting the heads of a bat AND a dove gained his highest post Black Sabbath hit – subsequently covered by Frankenstein Drag Queens From Planet 13.
  14. Roger O’Donnell’s concluding piece from his suite describes the buildings located on the right of the picture.

Of course I could have included any thing by: Kate Bush; Bush; Muddy, Crystal or Roger Warters (sic); Dennis Warterman (sic) or even ‘Warterloo’ (sic) by ABBA. But that would just have been silly.

ADL

Post Author ADL

The Vogue Years






The October 2006 issue of British Vogue features a wonderful and witty piece on Mr Hockney. The Author and photogropher of the article is one Christopher Simon Sykes, more on him later.

Written just before the amazing Bigger Trees Near Warter, it hints of what was to come. It's an exciting read.
The article focuses on the artists relationship with the wolds and his move into working with oils and multi-canvas works.

The article isn't available to read online so I've transcribed a fair bit of it.

Hockney's Homecoming

David Hockney, the nation's favourite painter, and a picture of elegance in a checked cashmere suit, pink shirt and white flat cap, is laughing, which is something he does a lot. The cause of this particular outburst is the memory of him and his French assistant, Jean-Pierre Goncalves de Lima, recently being nabbed by four coppers on a remote road in East Yorkshire. "We were driving up a tiny little road in Woldgate," he told me, "where you'd be lucky to see three cars an hour, when this police car stopped us and three policemen and a police woman jumped out and gave us each a ticket for not wearing our seatbelts. One of them was lecturing us along the lines of 'death is everywhere', while I was thinking, 'Well, life is lurking everywhere, too.' It was very funny. I said to Jean-Pierre, 'It was worth the £60 just for the story."


David is constantly amused by the idiosyncrasies of country life.
Another example being the lurid headlines in his favourite local newspaper, the Driffield Times, which has recently included such gems as 'STEAM ROLLER HORROR ON HIGH ST'  'SEVERED EAR FOUND IN YORKS CAR'
and 'MAYHEM ON THE STREETS FEARED'. He and Jean-Pierre now refer to the paper as the "News of the Wolds".

The article continues with a description of the East Riding and Yorkshire Wolds together with Mr Hockney's history with the area.

"my first real trip up here was in 1951 when I came to work on Foxcovert Farm, between the villages of Wetwang and Huggate, in my summer holidays. I cycled there from Bradford and I remember thinking how beautiful the landscape was, it was more cultivated than West Yorkshire, and unspoilt."

To begin with he painted predominantly in watercolour, entranced by an environment that has changed little over the years and is remarkably free of electricity pylons and road signs. He loved the fact that the roads were empty of traffic and soon began to think of the Wolds as his private estate. The watercolours were the first pictures of East Yorkshire he painted from nature, and he soon became a familiar figure, standing at his easel in the fields, his little white van for transporting his materials parked to one side, working in all weathers and at all times of year. "The first winter I spent here," he recalled, "I began to see how beautiful the winters were. There was far more colour than I expected." Occasionally the farmers would come and talk to him. "They thought my paintings were very accurate, and talking to them I noticed that they knew just how beautiful it is here."

When I first became friendly with him, the summer before last, he was well into his new oil-painting phase. "Going back to oil painting was thrilling," David told me. "When you've been doing watercolours, oil paint is like a luxury medium. You can do what you want with it. With watercolour you have to work from light to dark. You're more restricted." I first met David when Lindy Dufferin, an artist friend of mine who was staying with him, brought him to tea. He was so captivated by the view from my house that a few days later he was found painting halfway up the drive.

David has an electrifying presence which enthuses all those around him. At 69, in spite of the fact that his once dyed-blond hair is now a gentle grey, he still has a boyish look about him. He is passionate about many things, whether it is a furious tirade about the government's smoking ban or a compelling discourse on perspective in photography and painting. His eyes sparkle with humour. I suggested that he should produce a flick-book for his landscape show that was cheap and easy to produce. "You could give it away," I said. Raising one eyebrow he replied, "We've got to make a living you know."

Later the article provides a great insight into his latest works

"The paintings I'm doing now," he told me, "are probably the largest landscape paintings ever painted out-of-doors. I'm using six canvasses, each 3ft by 4ft, making the picture 6ft by 12ft, which is enormous. These big paintings place the viewer right in the middle if the landscape. When you take a photograph, there is a void between you and where the picture begins, but when I'm painting I remove that void."
"For small oils, you paint with your elbow," he said. "When you get to the bigger ones, you're painting with your shoulders, and when you put a few together, you're painting with your whole body. You move up and down and as you get more excited, you get bolder. I hadn't painted like that, out-of-doors with nature, for years."

And the article ends with this

Before I left to return to London, we took a walk on the beach, and as we once again mused upon the beauty of the East Yorkshire landscape, David left me with an interesting observation. "Landscapes and portraits," he said, "are both people on the surface of the Earth.
When you're here for a length of time and you're looking at the landscape daily, you see that at every moment it is full of life. Even in mid-winter, the trees are still alive."

Gorgeous.

The article and photographs, as I mentioned, are by Christopher Simon Sykes. His house is Sledmere house, which must be very nice indeed, and I love the fact that Mr. Hockney was found halfway up the drive the following day!

As I wrote up the exerpts last night I thought to myself that the name of the author rang a bell. Then it came to me, Christopher Simon Sykes is the author of the NEW HOCKNEY BOOK! I had read about the book in this months Vogue and had a talk to CM about it. It was her in fact that first alerted us to the above Vogue article in the first place.

Later that evening I was reading this months World Of Interiors and what do I find but a beautiful article with stunning photograps by Mr. Christopher Simon Sykes! I had bought the mag last week and had admired the photogs (of an amazing place in Tangiers ) and so it seems a small world sometimes, although in this case - a wonderfully small one.

 


To pre-order follow the link

http://www.amazon.co.uk/David-Hockney-Christopher-Simon-Sykes/dp/0385531443

To buy World Of  Interiors I usually go to WHSmiths in Prospect Centre, not many newsagents stock it.

Monday, 12 September 2011

Oh My Goodness



'25 Trees between Bridlington School and Morrison's supermarket along Bessingby Road in the Semi-Egyptian style'.

For anyone who, like me, is feeling a bit melancholy about 'Bigger Trees Near Warter' being uprooted from the Ferens after 18th September before being replanted in Bradford in October, news of a new exhibition opening on 14th September at Salts Mill, Saltaire, will hopefully cheer you up. Martin Wainwright writes on The Northerner blog that '25 Trees and Other Pictures by David Hockney', is "a preview of Hockney's vast Royal Academy tribute" (which opens in January 2012) which also "celebrates the 'extraordinary ordinary'" and also features "previously unseen portraits of Yorkshire friends and scores of the artist's iPad paintings which are not going to London". The exhibition will also feature a triptych with the above, unmistakably Hockneyesque title, each picture measuring 27 feet long, depicting the scene in summer, autumn and winter. It will be very interesting to see how it compares to the triptych arrangement of 'Bigger Trees..' at the Ferens. And with a title like that, it must surely be easier to find those 25 trees than the ones near Warter.




Post Author CM

Thanks so much for this post, I had no idea about this exhibition! I will be going - no question.

Thursday, 8 September 2011

The Night Approaches

Tomorrow evening the Volunteer Poetry Event will take place.

There are some volunteers who can't make it, but we will post all about the night with photo's and the poems.

It is wonderful that new work has been created and inspired by Bigger Trees Near Warter.

Til then.

Friday, 2 September 2011

'Have a Nice Day, Mr Hockney'


Portrait of David Hockney in a Hollywood Spanish Interior  1965 Peter Blake
http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=71536&searchid=9830



'Have a Nice Day, Mr Hockney'

Watching Mark Lawson interview Peter Blake on BBC 4 a while back reminded me of the deep friendship between the two. Having met at the Royal College of Art in the early 1960s, where Hockney was a student and Blake a visiting artist, they have remained close as both of their careers as artists have developed and wherever their lives have taken them, inspiring each other creatively in the process. It was incredibly touching and funny to hear Blake recount how he requested David Hockney as his luxury item on Desert Island Discs and was refused! 

I was very interested in learning more about Hockney and Blake's friendship - not least because visitors to the Ferens' Modern and Contemporary Gallery will know that it houses both Peter Blake's 'The Lettermen' (1963) and Hockney's 'Life Painting For Myself' (1962).  So I tracked down Marco Livingstone's excellent Peter Blake book 'Peter Blake: One Man Show', in which he describes how "the slightly younger artists who arrived as students at the Royal College a few years after his departure...looked up to him as a trailblazer". The book points out how both Hockney and Blake visited LA for the first time around the early Sixties and were both incredibly inspired by it. Livingstone also describes how Blake started painting 'Portrait of David Hockney in a Hollywood Spanish Interior' in 1965 and "was to spend nearly four decades tinkering with the picture from time to time before he finally declared it finished. Hockney, who had owned the painting since 1965 when he exchanged it with Blake for a set of his 'Rake's Progress' etchings but had never taken possession of it, made it a gift to the Tate as soon as Blake told him that it was ready to be handed over." In Livingstone's view, "what one might criticise as unresolved is actually one of its great strengths as it conveys a sense of the vulnerability, tenderness and sensuality that Blake saw in his painter friend, five years his junior. With his shock of dyed blond hair and a still almost childlike fleshy face, and accompanied by the type of handsome young man to whom he was attracted, Hockney is here memorialised not so much as the enfant terrible of the popular press but as an eternally youthful man who experiences life in a heightened state through his eyes and all his senses." 

The book also describes how 'Souvenir for Hockney' (1974), went on to inspire an entire show called '30 Souvenirs', created "both as homages and as gifts for fellow artists..(and) a way of remembering of of keeping those old friends forever by his side".  'The Meeting' or 'Have a Nice Day, Mr Hockney' (1981-3) could perhaps even be considered a souvenir of the their experiences of LA: as Livingstone notes it "deals most overtly with the circumstances of Blake's visit to Hockney in the company of (Howard) Hodgkin. Hockney assumes the role of the master allotted by Courbet to himself in the nineteenth century picture, while Hodgkin is shown rather mischievously as the humble and obsequious servant. Blake presents himself as Hockney's equal, but one who has come to pay him homage." The book concludes how now "that he has experienced his expected 'ration' of three score and ten years, he has cheerfully enjoyed every subsequent day, and every new opportunity to make more art as a bonus...he is no more likely now than ever to lose the childlike sense of fun, spirit of play and adventure, gentle subversiveness and devil-may-care whimsicality that have guided his art-making for more than 60 years." It strikes me that something very similar could be said of Hockney too, and perhaps that's the key to their enduring friendship and their ability to inspire each other. And why Blake wanted Hockney as his desert island luxury item!

You can only imagine how Hockney and Blake would entertain themselves on their desert island (the luxury item Blake was allowed was a gym! Not really a comparable substitute, but more healthy, you might imagine).  But it's lovely to know that at least at the Ferens, Blake and Hockney's early 1960s selves are always marooned together on their own desert island, their whole lives and careers still ahead of them.

*Marco Livingstone has also co-written 'David Hockney: My Yorkshire', which comes out this week.
 
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