Ocula MagazineContentsView All
Featured ContentView All
Ocula ReportYinchuan Biennale: 'Starting from the Desert. Ecologies on the Edge'19 Jul 2018 : Tessa Moldan for Ocula{{document.location.href}}
Hovering above sprinkler-coaxed beds of grass, the curved architecture of MOCA Yinchuan alludes to the topography of its more natural, flanking geographies: the desert and the marshland, divided by the Yellow River in China's northwestern Ningxia province. Between sand and water, it is the desert that Marco Scotini, curator of the 2nd Yinchuan...
{{article.Type.toLowerCase().indexOf('lightbox') > -1 ? 'View Lightbox' : (article.Type.toLowerCase().indexOf('city') > -1 ? 'View City' : (article.Type.toLowerCase().indexOf('video') > -1 ? 'Read More & Watch' : 'Read More'))}}
Ocula ConversationSun Xun{{document.location.href}}
Born in 1980 in Fuxin, China, to a factory-worker and military family, Sun Xun's father advised him to avoid politics. He was encouraged by his family to move to Hangzhou at the age of 16 to pursue his studies as an artist at a high school affiliated with the China Academy of Fine Arts. It was at CAFA that the artist honed his aesthetic and...
{{article.Type.toLowerCase().indexOf('lightbox') > -1 ? 'View Lightbox' : (article.Type.toLowerCase().indexOf('city') > -1 ? 'View City' : (article.Type.toLowerCase().indexOf('video') > -1 ? 'Read More & Watch' : 'Read More'))}}
Ocula ReportMade in L.A. 2018 at the Hammer Museum12 Jul 2018 : Perwana Nazif for Ocula{{document.location.href}}
For its fourth iteration of Made in L.A.—the Hammer Museum's biennial exhibition exclusively showing works by Los Angeles-based artists—curator Anne Ellegood and assistant curator Erin Christovale assert that there is no theme. Hence, the title: Made in L.A. 2018. The exhibition, which runs from 3 June to 2 September 2018, includes a...
{{article.Type.toLowerCase().indexOf('lightbox') > -1 ? 'View Lightbox' : (article.Type.toLowerCase().indexOf('city') > -1 ? 'View City' : (article.Type.toLowerCase().indexOf('video') > -1 ? 'Read More & Watch' : 'Read More'))}}

A defining figure of Pop art in Britain, David Hockney is considered by many to be one of the most charismatic and talented living artists in Britain. Following his award of a Gold Medal from London's Royal College of Art in 1962, and his first solo exhibition in 1963, Hockney rose to prominence as a painter of partly abstracted images of domestic scenes.

Hockney's move to Southern California in 1964 saw the artist take up as his subject matter the relaxed, leisurely scenes of his new environment: its sun-soaked landscapes, swimming pools and modernist houses. This marked the period in which Hockney created some of his best-known work, painted in a recognisably stylised mode, characterised by large planes of flat colour and graphic, sharp lines that incisively describe the edges of rectilinear SoCal modernist facades. These scenes sometimes included male subjects, often in the nude and depicted from behind—a hint at the homoerotic interests that marked a notable part of his contribution to queer art in the mid-20th century.

The naked male body came to exist as a subject in its own right in Hockney's etchings of male couples created in the late 1960s. Two Boys Aged 23 or 24 (1966), like several other prints by the artist of that period, presents the male figure in a state of undress. In the etching, which is part of a series that illustrates fourteen poems by the pre-war Greek writer Constantine P Cavafy, two men are depicted lying in bed after a moment of amorous interaction. The presence of intimacy between men and homoerotic scenes in Hockney's work predated the legalisation of homosexuality in his native England in 1967.

The early 1980s saw Hockney challenging the medium of photography, resulting in his photocollages (referred to as 'joiners') employing the use of Polaroid prints and, later, 35mm prints arranged in loose grid-like patterns. In Pearblossom Hwy, 11–18th April 1986, #2, for example, the conventional depth and illusionism of photography is disrupted by a fragmented materiality and two-dimensionality, evoked by the evidence of the collage's contrivance. Hockney used photocollage to challenge the overall unity of an image, a feature that reveals his affinity with the Cubists' concern for multiple perspectives viewed simultaneously. After taking photographs from various viewpoints, he stuck these together to create his composite images. This treatment was extended across a variety of different subjects, including portraits, landscapes, architecture and still life.

Amongst Hockney's most well-known bodies of work are his brightly coloured paintings of landscapes. In these large-scale panoramas, often rendered in dramatic shades of acid pink, lime green and bright orange, Hockney returned to the countryside of his native Yorkshire. In 2007, his multi-panel gridded compositions culminated in the creation of his largest painting, consisting of some 50 or so panels, painted en plein air with the help of digital photographs, assembled into a composition of more than 12 x 4.5m in dimension with the title Bigger Trees Near Warter Or/Ou Peinture Sur Le Motif Pour Le Nouvel Age Post-Photographique (2007).

Hockney's practice has spanned a diversity of media including painting, drawing, collage, photography, printmaking and set design. Around 2009, Hockney began utilising new handheld and mobile technologies in the form of iPad and iPhone applications to produce portraits, still lifes and landscapes. Many of these were then sent to friends electronically.

David Hockney's work can be found in many prominent international public collections, including the National Portrait Gallery, London; Tate, London; the J Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; Centre Pompidou, Paris; and the Smithsonian American Art Museum, Washington, DC. Hockney lives and works in both England and the United States.

by Tendai John Mutambu | Ocula | 2017
Read More

Sign up to be notified when new artworks and exhibitions by David Hockney are added to Ocula.

 

{{currentArtwork.ArtistName}}{{currentArtwork.Artist.FullName}}

{{currentArtwork.Title}}

{{currentArtwork.Medium}}{{currentArtwork.Medium && currentArtwork.Medium.substring(currentArtwork.Medium.length -1) != ',' && currentArtwork.Edition ? ',' : ''}} {{currentArtwork.Edition}}


{{currentArtwork.Signature}}


{{currentArtwork.Origin}}

Follow favourite artists and galleries, be notified of new artworks and exhibitions, use our price enquiry service and receive the Ocula newsletter. It's free.

Sign Up
 Sign Up with Facebook
By signing up you accept our Terms & Conditions, Privacy Policy and to
receiving the Ocula e-newsletter. Registration with Ocula is free.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

OutlookiCal GoogleYahoo