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‘I hope it gives young people some ideas!’: David Hockney’s immersive art show – photo essay



“I’ve always been interested in technology and pictures,” says David Hockney, still sharp at 85 in both mind and style, and preparing to unleash one of his most ambitious projects to date. With Bigger & Closer (not smaller & further away), Hockney joins the likes of Van Gogh, Dalí and Klimt as the subject of an immersive art show. The difference being, of course, that he’s still around to make sure it’s just as he wants it.

David Hockney - Lightroom installation. Lightroom team members, construction team and David Hockney’s invited guests attend a preview projection as part of the development of the show. Projections: Peter Getting Out of Nick’s Pool (1966) and Sunbather (1966)

Up close and personal

The show takes place at Lightroom, a new venue in London’s Kings Cross. During the hour-long performance, various Hockney works dance around the venue’s walls to a soundtrack composed by Nico Muhly. Occasionally we hear Hockney’s unmistakable Yorkshire accent as he muses on a lifetime in art, offers insights into his techniques and gives visitors the opportunity to experience his unique way of seeing the world.

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;My art has always been immersive, so I kind of grasped what it involved. You’ve got four walls and a floor – it’s a completely new medium really.”

Projections: Christopher Isherwood and Don Bachardy (1968), American Collectors (Fred and Marcia Weisman, 1968) and (in part) Beverly Hills Housewife (1967).

Around 250 of Hockney’s works are featured, spanning his six-decade career: some well known, others rare, and some drawn specially for the occasion.

David Hockney lights up as he sees the show projected for the first time in the Lightroom gallery space. Up until this point he had only seen the projections in model form. Watching the first full run-through with him is the show’s writer/director Mark Grimmer.
Discussions about the show: from left Executive director Richard Slaney, David Hockney, Jonathan Wilkinson (behind), Liana Zammitt and JP Gonçalves de Lima
Construction workers pause for a few minutes to watch the show.
Technical assessments during the show’s first run-through.
David Hockney arrives on set for the first day of projections, met by technical director James Roxbrugh.

Over three years in the making, the show features 1,408 loudspeakers, 28 projectors and a digital canvas size of approximately 108m pixels.


.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;This felt like it was moving something on. So I said, OK, let’s do it!”


‘Nature is an endless subject’

Because much of Hockney’s later work has been made with an iPad, this digital show allows his paintings to unfurl on screen just as he would have created them – with clouds appearing and flowers blooming as the sound of birdsong fills the room. There’s even a digital sunrise.

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;You can watch the whole drawing being made. It plays back every mark you did. It’s like looking over someone’s shoulder to see them draw, and people always love doing that with an artist, don’t they?

Projections: Early Blossom, Woldgate (2009) and May Blossom on the Roman Road (2009)

The exhibition is split into several sections, with mini-lessons explaining how only paint can convey the true majesty of the Grand Canyon, or how photographs fail to capture how we really see things. Using examples of his chair paintings or photo collages, Hockney explains how paint can bend the rules of optics and open up the sensation of time in a way photography cannot.

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;We assume we look the same way as a camera, but we don’t. We’re always moving, or the eyes are always moving. Cameras see geometrically but we see psychologically. If you play with perspective it allows the viewer to wander in and look around

Centre projection: Mulholland Drive, June 1986 (1986)

‘Nobody had painted LA before’

Projection: Nichols Canyon (1980)
Projection: A colour-treated abstraction of Mulholland Drive unique to the show and created in collaboration with the director as part of the evolution of the projection.

During the show’s commentary Hockney talks about arriving in “sunny and sexy” Los Angeles at the age of 24 and realising that it was twice a good as he’d expected. “I thought, this is the place for me!”. He didn’t know a soul there, but basked in the freedom of the road and the clarity of the light. In particular he was drawn to the fact that nobody had really painted the city before – and so he began painting panoramic landscapes.

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;Paris has been painted by marvellous painters, and London too. But LA didn’t even have a building that you would recognise. I was attracted to that. It was the first place I’ve actually painted.”

Projection: Pearblossom Hwy., 11-18th April 1986 (Second Version) (1986)

While based in Los Angeles, Hockney was famous for his “Wagner drives”, when he would take friends on a drive through Malibu Canyon, the Santa Monica mountains or the San Gabriel mountains with the German composer as the soundtrack. The trick was to get the timing right, so that the journey peaked in time with the music, just as the sun was setting.

“David Hockney: Bigger & Closer (not smaller & further away)” being projected at the new Lightroom venue near Kings Cross. In this photo, the A Bigger Grand Canyon, 1998 Lightroom is an immersive collaboration between The Bridge Theatre Company (who formerly ran the National Theatre) and 59 Productions (world-leading projection mapping pioneers)

In 2012, Hockney made a movie of these euphoric journeys, fixing tiny cameras to his vehicle to document the views from all angles. With this new show, Hockney could invite everyone along for the ride.

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;I used to love taking people on it. They’d have to come down to Malibu about an hour before the sun set, whatever time of year it was. And then we’d drive up the coast with West Side Story – ‘I like to be in America!’, things like that. Then when I turned up the hill, it went to the Wagner and people loved it. I mean, even some kids loved it. They would have never listened to Wagner’s Prelude to Parsifal if we hadn’t been moving. But when you have movement and music in a landscape, I think it’s very, very good and interesting.”

Projection: stage design for Tristan and Isolde, performed at Los Angeles Music Center Opera, 1987

Setting the stage

Hockney has designed many stage sets during his career, including multiple operas during the 1980s – which get a prominent showing at the Lightroom exhibition.

Hockney watches every showing of the projection with complete focus and a sharp eye for detail. Projection: The Swimming Pool (1965)

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;The opera stage designs are not that well known, but they’re a real part of my work. So we’ve put them in here, and we’ve been animating things, and they look terrific. In 1987 I did the sets for [Wagner’s 1865 opera] Tristan und Isolde. I thought at the time it felt like you were on a ship … but with this version, you’re really on the ship!”

Projection: Stage design for Turandot, Lyric Opera of Chicago, 1992
Projection: Detail of Hockney’s Tristan and Isolde set design
Projection: Raised Stage with Masks, Narrator and Auditorium (1981)

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;I can get frustrated that people don’t really look at things closely. But you can’t expect everybody to look at things like I do, because I’m drawing and painting things.”

Was that the motivation behind this show – that people would learn how to see more like him? “I’m just making suggestions to people, really. That’s all I can do. And then they can go home and think about it a bit.”

A sequence in which David Hockney narrates a series of films showing him leafing through pages of his sketchbook. Projection: Images from a Yorkshire Sketchbook (2004)

David Hockney watches the show’s first run through

Eyes on the future

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;I’m 85 years old, so I don’t know how much longer I have. But some young person might see something here and think, well, I can see what you could do with this. I hope what it will do is give young people some ideas – perhaps on how to make movies in a completely new way. Cinema is dying. You can see any Hollywood film on a big screen at home. But this is a new kind of theatre, a new kind of cinema. With this, you have to go out and see it. And people do like going out!”

Projection: Archival photos of Hockney in 1980 in LA
Hockney watches every showing of the projection with complete focus and a sharp eye for detail.

You might assume that, well into his ninth decade, this could be Hockney’s last big piece of work. But actually, it’s just given him more ideas.

.css-rj2jmfheight:1em;width:1.5em;margin-right:3px;vertical-align:baseline;fill:#866D50;It’s made me think we might do another opera: Ravel’s L’enfant et les Sortilèges. It’s 45 minutes long, so I think it could be done with this method.” So still hungry to keep working, then? ‘Oh yeah,’ he says. ‘Yes, yes, yes, yes, yes.’”

Projection: The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) sequence.

Bigger & Closer (not smaller & further away) is at Lightroom, London from 22 February until 4 June 2023


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JR’s Gigantic New Installation in Hong Kong, Unveiled Ahead of Art Basel, Has Worried the City’s Feng Shui Masters. Here’s Why – artnet News



The French artist JR has created a monumental outdoor installation for Hong Kong to celebrate the city’s art month this month. But the installation, which depicts a high jumper, has drawn criticisms from several feng shui consultants and fortune tellers, who argued that the work looks like a person who fell off from a building from afar, and hence projecting a bad omen. Titled Giants: Rising Up, the installation was unveiled this week ahead of next week’s Art Basel Hong Kong, which has its VIP days beginning March 21. Commissioned by the shopping mall Harbour City and on view until April 23 at the Ocean Terminal Deck in Tsim Sha Tsui, Kowloon, the work, which measures nearly 40-feet-tall and 40-feet-wide (12 meters high and 12 meters wide), is the famed artist’s first offering in Asia from his ongoing “Giants” series. “The gigantic art installation depicts a larger-than-life high jumper floating in mid-air adjacent to Hong Kong’s iconic Victoria Harbour, with her body bending gracefully and her head back facing the fabulous skyline,” the press release wrote. “The high-jumping athlete appears to jump off the ground and enjoys the sensation of free fall,” the press statement continued, adding that the athlete’s move represented “take off,” referencing to a “Giants” installation on view at the 2016 Rio de Janeiro Olympics. JR also added “a touch of Hong Kong” by fusing the image with a bamboo scaffolding, a construction technique regarded as “safer than steel” that has been listed as the city’s intangible cultural heritage.

<img aria-describedby="caption-attachment-2271534" loading="lazy" class="size-large wp-image-2271534" src="×767.jpg" alt="JR, GIANTS: Rising Up. Courtesy of Harbour City. ” width=”1024″ height=”767″ srcset=”×767.jpg 1024w,×225.jpg 300w,×1151.jpg 1536w,×1534.jpg 2048w,×37.jpg 50w,×1438.jpg 1920w” sizes=”(max-width: 1024px) 100vw, 1024px”>

JR, GIANTS: Rising Up. Courtesy of Harbour City.


But JR’s artistic creation failed to appeal to some feng shui consultants, as well as practitioners and believers in the traditional art of Chinese metaphysics and divination. “Doesn’t it look like someone who fell off from a building landing on a bamboo scaffolding, and the body is pierced through by the bamboos?” asked feng shui master Po Sin in a recent video on his YouTube channel. Po Sin’s view was echoed by a recent Facebook post penned by feng shui practitioner Steve Lee, who also shared a similar impression of the work. Their views were also echod by some internet users. Feng shui is understood as the ancient Chinese study of arranging one’s surroundings in order to facilitate the positive flow of energy or bring fortune, and is widely adopted in interior design and architecture in Hong Kong. Some non-believers, however, criticized it as mere superstition. Po Sin, nevertheless, went on saying that although bamboo scaffolding was distinctively from Hong Kong, and it could be aesthetically pleasing, the depiction in this JR work was not appealing. “You can have people climbing on a bamboo scaffolding, but not having someone landing on it on a person’s back,” the master said, adding that the out-of-context jump looked like the jumper was diving into the sea, which has a bad connotation in the local cultural and lingual context. Artnet News has reached out to Harbour City for comment, but did not hear back by publishing time.

"KAWS: HOLIDAY" featuring Companion by US artist Brian Donnelly aka KAWS at Victoria Harbour, Hong Kong. Photo: Isaac Lawrence//AFP/Getty Images.

KAWS’s Companion at Victoria Harbor, Hong Kong. Photo: Isaac Lawrence//AFP/Getty Images.

Lee, the feng shui practitioner, also compared the bad omen projected by JR’s new work with that of American artist Kaws’s Kaws:Holiday public installation in Hong Kong that was on view in March 2019. The installation saw the gigantic, crossed-eye inflatable sculpture of Companion lying flat on its back floating on Victoria Harbour, which Lee interpreted as the “fortune basin” of Hong Kong. “Call me superstitious, but placing a ‘floating dead body’ in the middle of Victoria Harbour, the sight is unbearable,” Lee wrote in a post in March 2019. Lee then followed up with another post in October 2019, when the city was rocked by pro-democracy protests that had tipped off in June, sparked by the anti-extradition law movement. “The artwork ‘dead body in Victoria Harbour’ was merely a prophecy,” he wrote, predicting that the city will continue to suffer in subsequent years, affecting all local citizens regardless of age and political orientation. Whether or not Kaws’s installation could be read as an omen, in reality, the city was nearly cut off from the rest of the world for almost three years under stringent Covid restrictions. The authorities continue to crackdown political dissents since the implementation of national security law in 2020 and the revival of the use of colonial-era sedition law, which saw hundreds of activists, pro-democracy politicians, and journalists arrested. The city’s stock market index, Hang Seng Index, plunged from its high note at over 30,000 in May 2019 to 14,863 in October 2022, its lowest since 2009. Is JR’s new artwork really a bad omen? Benson Wong, a former Hong Kong Baptist University political science professor-turned astrologer and psychic, noted that in this case, the meaning of the work is defined by viewers. If the work is associated with negative meanings, the work is seen as “a projection or manifestation of such negativity and unlucky energies,” Wong told Artnet News. “It is a reflection of collective consciousness.”

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‘A real beauty’: Gottfried Lindauer painting set to break auction record



The portrait of Harawira Te Mahikai, chief of the Ngāti Kahungunu Tribe, is the finest to come to market according to an art expert.

International Art Centre/Supplied

The portrait of Harawira Te Mahikai, chief of the Ngāti Kahungunu Tribe, is the finest to come to market according to an art expert.

A rare Gottfried Lindauer​ painting is set to break records when it goes to market on March 29, with one art expert deeming it “the finest to ever come to market”.

Lindauer was a man who, along with C F Goldie, excelled in painting important Māori subjects throughout his life, as well as depictions of Māori life during this time period.


He also produced many pieces of little-known or ordinary Māori people, most of them wearing European dress, as would have been the case in their daily life.

Richard Thomson, the director of the International Art Centre, said the Lindauer up for auction was a “real beauty”.

The painting is a portrait of Harawira Te Mahikai, chief of the Ngāti Kahungunu Tribe, and a signatory of the Treaty of Waitangi.


At the time of his death in 1886, Te Mahikai was the last tattooed chief of Waimarama.

“It has all the hallmarks of a Lindauer, you don’t see them that often in this kind of quality,” Thomon said.


Piers Fuller/

A Gottfried Lindauer portrait of Huru Te Hiaro was repaired and moved from Te Papa to Aratoi Museum in Masterton for a Lindauer exhibition (first published June 2017).


The piece was painted in 1883, and Thomson thinks Lindauer perhaps painted it when his son Hector was born and saved to gift to him when he turned 21.

“This one is a real masterpiece, and I think it’s one of the best to come to market ever,” Thomson said.

“It’s in pristine condition, and it was owned by Lindauer himself until he gifted it to his son Hector in 1908.”

The piece was held by descendants of the Lindauers until 1988, when it was bought by a private collector who it has been with ever since.

Lindauer pieces have had a high profile as of late due to the brazen heist of two of the pieces from the International Art Centre in April 2017.

The paintings, which were of Māori elders Chief Ngātai-Raure and Chieftainess Ngātai-Raure, were finally recovered and returned to their rightful owner in December 2022, over five years after they were stolen.

The stolen paintings were recovered in December 2022.

The stolen paintings were recovered in December 2022.

Although the Lindauer up for auction is not one of the stolen paintings, it is the first one to come up for sale since the paintings were recovered.

Thomson said despite “the heightened awareness”, the story of the stolen Lindauers won’t “add fuel to the value of it”.

“It’s probably going to be a record price, and I would be surprised if it wasn’t – it’s almost a certainty,” Thomson said.

The director believes the piece could hit the million dollar mark, and wouldn’t drop below $500,000.

The auction is taking place at the International Art Centre on March 29, and you can register your interest here.



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Museums Rename Artworks and Artists as Ukrainian, Not Russian



A year into the war, institutions face pressure to note the Ukrainian roots of artworks and artists long described as Russian. It’s not always simple to write a wall label.

The Metropolitan Museum of Art in New York changed the name of one of its Edgar Degas pastels Friday morning from “Russian Dancers” to “Dancers in Ukrainian Dress,” the second Degas it has reclassified since Russia invaded Ukraine.

The National Gallery in London renamed one of its Degas pastels “Ukrainian Dancers” from “Russian Dancers” last year. And the J. Paul Getty Museum in Los Angeles updated an old item on its website to note that Degas’s dancers were Ukrainian, not Russian.

The adjustments reflect a movement that is currently underway at museums all over the world, spurred by Russia’s invasion of Ukraine. Many are re-examining — and, in a growing number of cases, relabeling — artworks and artists from the former Russian Empire and the former Soviet Union to better reflect their Ukrainian origins.


“Scholarly thinking is evolving quickly,” Max Hollein, the Met’s director, said in a statement, “because of the increased awareness of and attention to Ukrainian culture and history since the Russian invasion started in 2022.”

But the process is not always straightforward, particularly when museums try to reflect the nationality of artists, and not just where they were born. The Met recently revised how it classifies three 19th-century painters previously described as Russian — Illia Repin, Arkhyp Kuindzhi and Ivan Konstantinovich Aivazovsky — to draw attention to their Ukrainian roots.

It updated two of the names with their Ukrainian transliteration, followed by the Russian name: Illia Repin (Ilia Efimovich Repin) and Arkhyp Kuindzhi (Arkhip Ivanovich Kuindzhi).

But after the Met changed the description of Aivazovsky from “Russian” to “Ukrainian” on its website, some critics pounced, pointing out that he was in fact Armenian. (“The Met Shouldn’t Have Reclassified Ivan Aivazovsky as ‘Ukrainian,’” an essay in Hyperallergic argued.) So the Met re-reclassified him: Aivazovsky is now described as “Armenian, born Russian Empire [now Ukraine].”

Activists and art historians have been pressuring museums to rethink how they label art and artists, arguing that given Ukraine’s history of subjugation under the Russian Empire and Soviet Union, its culture should not be conflated with that of its rulers. Museums in the United States and Europe are complicit in its colonization, the critics argue, if they don’t honor the artistic contributions of Ukrainians.

Since Russia invaded Ukraine, the Metropolitan Museum of Art has changed the way it labels works by Degas, Illia Repin and Arkhyp Kuindzhi. Jeenah Moon for The New York Times

“It’s like stealing heritage,” said Oksana Semenik, an art historian in Kyiv who has been pressing for change. “How you can find your identity? How you can find your culture?”

The failure to distinguish Ukrainian artists and artworks has been particularly painful, activists say, at a time when so much of Ukraine’s cultural heritage has been damaged or destroyed in the current conflict, including museums, monuments, universities, libraries, churches and mosaics.

Many museums are reconsidering the identification of holdings that have long been lumped in the general category of Russian art. Among the museums that Semenik has sought to change have been the Museum of Modern Art, the Philadelphia Museum of Art, the Art Institute of Chicago, the Brooklyn Museum and the Jewish Museum.

The Museum of Modern Art in New York described artists as “born in present-day Ukraine” in its recent exhibition “In Solidarity.”

“Nationality descriptions can be very complex, especially when making posthumous attributions,” Glenn D. Lowry, the director of the museum, said in a statement to The Times. “We do rigorous research and approach the descriptions with sensitivity to the recorded nationality of the artist at death and birth, emigration and immigration dynamics, and changing geopolitical boundaries.”

The Met has been considering such updates since last summer in consultation with its curators and outside scholars. “The changes align with The Met’s efforts to continually research and examine objects in its collection,” the museum said in a statement, “to determine the most appropriate and accurate way to catalog and present them.”

The subject of what the Met now calls “Dancer in Ukrainian Dress” was initially identified as “women in Russian costumes” in a journal entry in 1899, the museum explains on its website. “However, several scholars demonstrated that the costumes are, in fact, traditional Ukrainian folk dress, although it has not been established if the dancers were themselves from Ukraine.”

The Met has revised its wall text for artworks such as Kuindzhi’s painting, “Red Sunset” (circa 1905-08), which was put on display last spring following a statement of support for Ukraine from Max Hollein, the Met’s director, and Daniel H. Weiss, the president and chief executive.

Arkhyp Kuindzhi (Arkhip Ivanovich Kuindzhi), “Red Sunset,” 1905–8. The new label reflects the complexity of the artist’s roots. His Ukrainian name now appears first, followed by his Russian name.Jeenah Moon for The New York Times

The Met’s European Paintings department currently describes Kuindzhi as “Ukrainian, born Russian Empire,” the website explains, “to reflect the dual, intersecting nationalities identified in scholarship on the artist.

“He was descended from Greeks who moved to Mariupol from the southern coast of Crimea in the 18th century,” it continues. “Greeks from Crimea are classed among the Pontic Greeks, who originated in what is now northeastern Turkey and migrated widely through the surrounding region.”

While “Red Sunset” is safe in the Met’s collection, the Kuindzhi Museum in Mariupol, devoted to the artist’s life and work, was badly damaged by Russian airstrikes.

Asked whether it was revising the identification of works in the Jewish Museum’s collection, Claudia Gould, the director, said that her institution tried to take a nuanced approach to classification. “For artists born in the Russian Empire or former Soviet Union, as well as many other regions with ever-changing borders, we use the historical regions at the time the work was made and/or their present-day equivalent,” she said in an email.

Semenik, the art historian from Kyiv, has been pressing her case with museums.

Oksana Semenik, an art historian from Kyiv, Ukraine, has been pressing museums to change how they label art. “It’s like stealing heritage,” she said. “How you can find your identity? How you can find your culture?”Alyona Lobanova

“Ukraine is not the former Russian Empire,” Semenik wrote in a January letter to the Brooklyn Museum. “It was colonized by Russia centuries ago.”

Anne Pasternak, director of the Brooklyn Museum, said that since last summer, the European Art department has been revising the way it presents biographical information relating to nationality for objects in its collection, “precisely in response to the urgent and complex legacies of empire, colonization, and displacement that the war on Ukraine has thrown into relief.”

The museum has been expanding its wall labels so that they describe an artist’s place of birth and death, noting any change in national borders. For instance, the artist Repin’s biographical line now reads: “Chuhuiv, Ukraine (former Russian Empire), 1844 — 1930, Repino, Saint Petersburg (former Kuokkala, Finland).”

Though it may be a challenge to satisfy everybody, “we believe that this approach better highlights the histories of war, colonization, and independence,” Pasternak said, “that may be obscured when classifying by nationality.”


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