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David Hockney feature, April 2010 Modern Painters
1. by marina cashdan I poRTRAIT s BY AnTonY CRooK
Bridlington, an area of undulating landscapes on the northeast coast of Yorkshire,
in England, possesses a unique character, the moodiness of its erratic sky and the
nearby sea posing a remarkable contrast to its steadfast woodlands and deso-
late roads. Unlike its southern counterpart, the Cotswolds, it is deserted. If you
visit, yours might be the only car on the road for 25 miles around. And Bridlington
residents are happy to be isolated. That includes painter David Hockney, the best-
known living artist in the U.K., perhaps in the entire world. Hockney, 72, was born
in Bradford, an industrial town about an hour’s drive from Bridlington. Drawn
by the California lifestyle depicted in the gay novels of John Rechy, he moved to
Los Angeles in 1978, remaining there for nearly four decades. But he journeyed
back to Bridlington regularly to visit his mother, who lived in a converted
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2. david hockney
on his latest inspiration–
Yorkshire
into the woods
this page and opposite :
Hockney in his home studio
in Bridlington, 2009.
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7. The Twenty-Five Big Trees
Between Bridlington School
and Morrison’s Supermarket
on Bessingby Road, in the
Semi-Egyptian Style, 2009.
ink-jet-printed computer
drawing and photo collage on
paper, 44 x 324½ in.
But Hockney’s relationship with photography is clearly love-hate. He has used it extensively
in his work, though not, he says, as a photographer but as a painter. Between 1970 and 1986,
his “joiners”—Polaroid pictures joined to create composite images—confronted the fleeting
nature of photographs. Similarly, the melded images in his scrolls, like Twenty-Five Big Trees, are
entirely photographic except for stylistic, squiggly Hockney marks on the foreground footpath
and sky. Paintings, however, offer the viewer a sense of space and a more personal depiction of
landscape than single camera shots can. By combining his photographic images, the artist
seeks to overcome the medium’s limitation, devising a composite that goes beyond its familiar
monocular, single-frame perspective. The eye is forced to look at the picture vertically—because
the repeating forms, like the trees in Twenty-Five Big Trees, occur vertically—as well as horizon-
tally, and this cross-perception slows the viewer down. The process also releases photography
from its bond to a single moment of a single second in time—depicting only surface, as Hockney
points out—and gives it space and breadth and painterly humanization.
Just as painters like Jan Van Eyck, according to Hockney and Falco’s theory, used concave
mirrors or refractive lenses to project the images of objects illuminated by sunlight onto the
canvas, Hockney uses tools like digital photography and Photoshop to enhance his own work.
“The way he keeps up with technological advances is amazing,” says Douglas Baxter, president
of PaceWildenstein, which showed Hockney’s large-scale landscapes at two of its New York
galleries last fall. “That’s one of the things that informs the painting. He goes off on these wild
explorations of those technologies and then comes back to painting, and his painting has
changed and enriched because of this exploration.” In Hockney’s studio, a realistic-scale print of
Claude Lorrain’s expansive heroic painting The Sermon on the Mount, 1656—part of the Frick
Collection in New York—is tacked to one of the moveable walls. Next to it is the same print, with
a few modifications: It is much brighter and airier; the mount from which Jesus addressed his
disciples is clearly visible, rather than solemn and mysterious; it has become a wonderful spiral
protruding from the visually busy landscape. Additionally, you can now see a staircase parallel-
ing the Jordan River on the left side of the print. “I went to look at The Sermon on the Mount,
and [the Frick] gave me a disc, so when we got back here, we printed it. And I realized that you
could clean it digitally,” says Hockney. “On the computer we kept taking out blacks, and I
cleaned it that way. It took us a week to do it.”
Hockney’s love of new technology, his love of new landscapes, and his love of painting result-
ed in the rich series of works exhibited at PaceWildenstein, which represent the culmination of
his career to date. “The show was an enormous success on all levels,” says Baxter. “We had
huge attendance. We doubled our normal run for the catalogue, and it still sold out. It got a lot of
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