The Body

More beautiful work from Danielle Stubbs. The body in motion, captured by an artist, can be utterly arresting.

http://daniellestubbs.weebly.com/

All About Tommy and David

Another great article here from a dedicated Hockney Researcher and Volunteer. Many Thanks for this, I had no real knowledge of Tommy Nutter, only a vague recollection picked up from documentaries and articles about the fashionable and fabulous.

I love this...Thanks CM

Tommy Nutter and David Hockney: Velvet Revolutionaries

'Tommy Nutter: Rebel On The Row' (Until 22 October, Fashion and Textile Museum, London: http://www.ftmlondon.org/)

I had just started walking around this exhibition when suddenly I heard someone say  

"David Hockney!". I was puzzled and intrigued by the curious co-incidence, as I had sent an email enquiring about the Hockney Volunteer Project before leaving for London.

It should have been obvious really. I was standing looking at the work of maverick 1960s tailor Tommy Nutter. As the exhibition programme describes, he was "a designer whose vision carved an original style from the traditions of bespoke

tailoring; a style that reflected the heady and liberating spirit of the times". On display were suits of tweed, check, velvet and satin "all referencing the silver screen idols and styles of the 1930s".

The source of the Hockney remark was soon revealed - safely under glass, an original order book, listing Nutter's customers and what they had ordered from him (and what it cost and if they'd paid or not!). Among orders for Elton John and Mick Jagger was an order for a velvet suit - jacket, trousers and waistcoat - for a certain Mr Hockney (I think he'd paid, but can't remember how much). Sadly, this particular suit wasn't on display (I wonder if he still has it? Or wears it?!), but stage costumes for Elton John and The Rolling Stones were, and it's easy to see why Nutter's designs appealed to Hockney.

"(David Hockney) was a major cultural symbol of 60s London - of a new confidence, a generation that was overturning everything" Chrissie Illes, curator at Whitney Museum of American Art, notes ('David Hockney's Long Road Home' by Carol Kino, New York Times, October 15 2009). Close friends with Ossie Clark and Celia Birtwell, who he also depicted in his art, it is easy to imagine how he and his contemporaries, such as Nutter, all influenced each other.

One look at the photos on The Selvedge Yard blog post link shows how much David Hockney has always enjoyed dressing up - the way he knowingly and playfully poses for the camera lens shows how he understands how to be the subject as well as the artist. Perhaps to him, the body is another canvas, another medium of expression.

He still cuts a dash today, attending the 'Bigger Trees Near Warter' preview at the Ferens in a striking ensemble, complete with hat and scarf. A 2006 Vogue interview was accompanied by a brilliant portrait by Christopher Simon Sykes of Hockney beside the beach huts at South Beach in Bridlington. He is wearing a checked suit, pink shirt, lilac scarf and white cap (with his ever-present signature accessory of cigarette in hand). He has always appeared to be fascinated by and revel in aesthetic pleasure, wherever he finds it, which makes him truly inspirational. As the 'Un Homme Un Style' blog post points out, that the Spring 2012 Galliano Menswear collection is a homage to Hockney's 'A Bigger Splash' and his personal style is proof of that, and that fashion and art still influence each other even today.

Post Author CM

For more photos of the exhibition and of Tommy follow the link http://www.ftmlondon.org/exhibitions/future/detail/?ID=67

And another juicy article on the exhibition by Joao Paulo Nunes for The Huffington Post http://www.huffingtonpost.co.uk/joao-paulo-nunes/tailoring-revamp_b_896755.html can lead you to his blog, which is rather good! http://worldmanabouttown.com/

Exhibition Photo Kirstin Sinclaire

"Art is what you can get away with" ANDY WARHOL

One of the exhibits at Salford, Debbie Harry by Andy Warhol

Fellow Hockney researcher and volunteer CM recently visited the 'Warhol and The Diva'  exhibition at The Lowry and we asked her to write a review. Many, many thanks to her for this great piece of writing.

Warhol and The Diva at The Lowry (running until 25th Sept)

After walking around rooms of Lowry's mill scenes and seascapes, it's quite a shock to suddenly find myself surrounded by Hollywood glamour. But then Warhol himself, having grown up poor in a mining town, knew only too well the impact of divas such as Judy Garland, Marilyn Monroe and Elizabeth Taylor in bringing that glamour to the everyday. 

On the surface (where Warhol appeared happiest), there is little in this show that's new. Warhol was interested in celebrating the banality of the everyday. What this exhibition does do is explore Warhol's own fascination with the women he made into art. There are startling photos and film footage of him in women's clothes, wig and make-up, appearing to emulate Marilyn Monroe. In a room painted gold and hot pink, filled with Warhol's Marilyns and a chandelier reflecting in the glass, it's a pretty powerful impression. 

There are also photographs of Warhol with many of his artistic subjects, such as Elizabeth Taylor and Debbie Harry. What is striking is how comfortable they look in his presence, regarding him as a fellow star, while he retains the awkward pose of the impoverished starstruck kid, always the detached outsider.

Given David Hockney's association with Warhol, I was interested in what common ground their art appears to share. In a New York Times article ('David Hockney's Long road Home') by Carol Kino (October 15, 2009), Chrissie Iles, curator at the Whitney Museum of American Art is quoted as saying "(Hockney) took the very English preoccupation with portraiture and turned it upside down by eroticizing it". Warhol arguably does something similar but in a very American way. There's also the bright colours of Warhol's divas and Hockney's pool paintings, and the fascination with famous, glamorous people in society. But while Hockney developed friendships with many of his subjects, or depicted those he already knew, Warhol always retained a starstruck distance.

One of the most interesting things about this exhibition is how it displays the original Polaroids of many of Warhol's original subjects (although, significantly, he never met Monroe - the ultimate unattainable star), letting you see how his portraits compare. Seeing Liza Minnelli and Debbie Harry in their natural, yet obviously glamorous selves, then as exaggerated colour-saturated works of art was fascinating.

Watching 'This Green and Pleasant Land', a BBC4 documentary about the history of landscape painting reminded me of David Hockney's fascination with new technology. The programme discussed his use of the iPad in creating art, which he regularly sends to his friends (lucky friends), and whether this is a revolutionary way of making art, or if it threatens to destroy it, by removing the idea of the original. You can only imagine what Warhol himself would also be doing with the technology we have today, if he were still alive.

Post Author CM

 'Warhol and The Diva' (until 25 September, The Lowry, Salford Quays:

www.thelowry.com/events/andy-warhol-divas/home/)

Below, a wonderful photo of Mr. Hockney and Andy Warhol

David Hockney and Andy Warhol image from a great article below, what do you think of it?
http://www.harpreetkhara.com/archives/4879

David Hockney by Andy Warhol via The Portrait Party blog (Another fab article)
http://theportraitparty.blogspot.com/2007/10/andy-warhol-david-hockney.html

I want to capture the viewer and bring them within my work

The collective of Hockney Volunteers and Researchers includes people from all the walks of life. Including Artists. Once again, the great thing about a collective is the possibility of discovering new ideas, new sources of inspiriation, and much like the far reaching branches of Mr Hockneys Trees, all the links and connecting lines spread out before you.

One of those branches is Danielle Stubbs - a new emeging talent in the artworld and a Hockney volunteer.

Her photography of the human body is startlingly beautiful and her use of text has a powerful emotional resonance for me.

To learn and view more of Danielle Stubbs work visit her site at http://daniellestubbs.weebly.com/

Lucian Freud

Lucian Freud by David Hockney
David Hockney by Lucian Freud

Images curtesy of The Portrait Party Blog

http://theportraitparty.blogspot.com/2007/06/david-hockney-lucien-freud.html

Style - Take What You Want And Dont Let It Trap You

One of the great things about a collective is that your world can expand through shared ideas and especially by new ideas, new sources and information.

I had no knowledge of THE SELVEDGE YARD blog but thanks to a fellow volunteer and Mr. Hockney researcher I do now.

She found a great post on the selvedge yard site dedicated to David Hockney and his style. There are quotes and some excellent pictures on the post.

Follow the link to see more...

http://theselvedgeyard.wordpress.com/2010/03/22/david-hockney-style-take-what-you-want-and-dont-let-it-trap-you/

Image by © Bob Adelman/Corbis via The Selvedge Yard

Post Source CM

"It's my sketchbook of the moment"

A recent New Yorker News Desk post featured the beautiful New Yorker cover for the June 13 & 20 issue - created by Mr. Hockney on his ipad.

To see the other ipad works of art that Mr. Hockney has created for the new yorker follow the link.

Mr. Hockney is an artist who gives the world so much of his talent - in an accessible, delightful and far reaching methodolgy.

 http://www.newyorker.com/online/blogs/newsdesk/2011/06/cover-story-he-draw-on-ipad.html

Un Homme Un Style

Mr. Hockney is of course a man of style. He continues to influence the world of art, so too the world of fashion and style.

Take a look at the Spring 2012 John Galliano Menswear collection shown late last month. The show titled Big Splash, is an homage to David Hockney and the 1974 documentary A Bigger Splash (the show references the iconic poolside Peter Schlesinger too)

The title of this post is an homage to the style of the man, with a nod to Paris Vogue.

Mr. Hockney's Celia Birtwell covered 1985 edition of Paris Vogue is surely one of the most iconic magazines ever produced (Why didn't I take my 14 year old self to Paris and buy a copy in 1985? Why?)

The current Paris Vogue's online website offers a great section titled Un Femme Un Style, where you can step into the stylish world of stylish ladies - which got us thinking, why not create Un Homme Un Style - dedicated to Mr. Hockney of course...

http://www.style.com/fashionshows/review/S2012MEN-JNGALLNO

Photo Yannis Vlamos / Go Runway.com

http://www.vogue.fr/mode

For Un Femme Un Style

Happiness

HAPPY BIRTHDAY MR. HOCKNEY.

Rest In Peace Mr. Twombly

The Exquisite American artist Cy Twombly died yesterday. He was, like our very own Mr. Hockney, deeply interested in the work of old masters, nature, literature and printmaking. An exhibition of his work (together with works by Nicolas Poussin) is currently on display at Dulwich Picture Gallery as part of their 200 years celebrations.

Mr. Hockney's painting Mr and Mrs Clark and Percy will be shown as part of the gallery's Masterpiece a month exhibition, later this year.

Mr. Twombly did his own thing without much care for any current vogue in the art world. Bravo to that.

The Trees

We arrived at Warter and walked up a winding path to the old St James church and met with Rose. In the past the church had fallen into d
isuse and was due to be demolished but Rose and her husband set up the preservation trust and saved the building; it is now the St James Heritage Centre.

The church itself is a beautiful building with a truly impressive interior. Important sculptures and local history fill the space, so many wonderful stories - all being kept alive by the trust. There are sunday pop in cafes with home made cakes, bookable art workshops and lectures - and four local walks that include the locations of several of Mr. Hockneys paintings, for further information conact roseandrobin@vistaarts.co.uk

After our talk we set off to the Bigger Trees Near Warter location, which took a few minutes. The sky was marvellous, the trees, now lush with foliage, the house and shed, recognisable. The great thing about visiting the site was to compare the scene with the painting - the changes, the vision, the imagination of the artist and his choices became more startling with the visit.

Of course, visiting the location of a masterpiece isnt necessary or indeed possible in many cases, nor does it necessarily provide a way to become closer to it - yet a visit to Monet's garden at Giverny is still a very popular thing to do, and the scenery of Warter and around is truly amazing - worth a visit for sure.

Amazing Warter

One of our fabulous volunteers suggested a trip to the location of the painting, which we were all very keen to do. Most of us had watched the inspirational documentary David Hockney: A Bigger Picture, Director Bruno Wollheim (Available at Amazon.co.uk - and at the Ferens shop) which left us feeling closer to the artist and the great Yorkshire landscape all around us - on our doorsteps in fact.

Not only did our volunteer take a reconnaissance mission to locate the exact location of the trees in question she also found the beautiful St James Heritage Centre and Rose Horsepool of the St  James Warter Preservation Trust. Rose very kindly offered to take us the location of the trees and talk to us about the area.

Last week, we set off from Hull in a terrible rain storm, thinking - oh dear, what a rubbish day to spend outside, but soon the rain cleared and by the time we turned off at Market Weighton on the run up to Warter it was warm and light. The appraoch to Warter was a revelation! The hills, the colours, the patchwork of fields and in the distance the steeple of St James. No wonder David Hockney paints here, a more amazing place I have yet to find...

Initial Reactions

We each have our own reactions to the new configuration in hull. In later posts more volunteers will give their personal experience with Bigger Trees Near Warter, but for now, here is my initial reaction...

At first I thought, Bigger Trees Near Warter has become smaller, which seemed strange given that the room and not the artwork was smaller (than in York) but my reactions kept changing, by the second. The painting  then seemed to grow before me and I was reminded of Alice in Wonderland. Had the painting had a glug of enlarging potion?

I was transported, the closer I got the more real it became, the energy needed to create those sweeping strokes became clearer, I  felt the speed and brilliance of the lines and composition.

In York, from the great distance between the painting and the viewer, I had been reminded of a huge brain spreading out like branches - but now, without that distance afforded me, I had a different experience, intimate, closer in many respects.

Launch Night

The wall did not stay empty for long. It was filled, canvas by canvas, with great care.

Invitations had been sent, preparations were underway and the burning questions of the hour, what would our own reactions to the the new configuartion be - and would Mr. Hockney come, were hanging in the air.

It was a great night for Hull. Everything at the Ferens was perfect. And he came.

Hockney volunteers played their crucial part. We all shared the atmosphere and experience.

David Hockney seemed relaxed, happy and open and his reaction the the triptych was positive!

Some volunteers had a word with Mr Hockney, others had books signed (Why didnt I think of that!) and other people had their photos taken with him (Why didnt I think of that!).

What a lovely happening in Hull.

The Triptych

The painting, so beautifully presented in The Royal College of Arts Summer Exhibition in 2007, followed by The Tate showing and lastly in York, is made up of  50 separate canvases and always hung flat. 'Til now.

In Hull we have a wonderful art gallery. The building and the layout is gorgeous, the collection truly startling, and I must say up until now I'd always thought of Gallery 7 as a large space. Not large enough for the Hockney however and Bigger Trees Near Warter could not be hung in the space flat.

A special wall had to be built in a triptych, or three fold format, meaning that for the first time the multi canvas artwork would be presented in three panels, the middle panel would be the largest with the two side panels hinged inwards. We would be able to step into the painting. Exciting.

As the launch day approached we stood before the newly created, empty wall, and wondered.

York Art Gallery

For the first volunteer meeting a trip to York Art Gallery was arranged - to see the artwork as it was currently being exhibited. We knew that an exciting change would be taking place when the painting would be shown in Hull.

In the beautiful light-filled gallery our first meeting with Bigger Trees Near Warter was of course a personal experience for each of us.

My first glimpse, like so many visitors that I have since seen in the Ferens Art Gallery, produced a quiet intake of breath. I stopped. It was beautiful. More than that, it was exciting, it seemed like a real living thing. I thought too that it was elegant. In fact the gallery and how it was presented was elegant.

Thoughts of reaching out, of a connecting  spirit to the painting drew me closer. I noticed that there seemed to be a reluctance of visitors to get up close. Everyone stayed back, perhaps not wanting to interfere with its beauty. But how could you keep away?  On closer inspection, the colours seemed even more startling, the pinks, purples, the greens.

Thankfully one of our dedicated volunteers set up an impromptue talk with the curator and we learnt more on the creation, the ideas, the lines and this proved invaluable.

We were getting closer to Mr. Hockney.

Bigger Trees Near Warter

The excitement, the anticipation...

David Hockney's monumental artwork, Bigger Trees Near Warter was actually coming to Hull. Gifted to the Tate in 2008 and now due to travel the nation - providing all of us the opportunity to engage with a masterpiece.
The volunteers needed to invigilate at the Ferens Art Gallery were sought, found and began to explore, to learn, and to develop a special relationship with the painting.