One of my old haunts, the blog Ragged Cloth Cafe, has published my analysis of Hockney’s drawings. Actually, this is mostly Hockney’s analysis of his own work, but I’ve gathered together a bunch of his words, trying to make them compact.
Progress is being made. The 8 cedar planks have all had their first coat of paint. The slight bulge in the center that somehow started out concave has be sighted and corrected. The curve of Winter Ridge has been located and shaped at each end of the playa. Color has been laid down and more is contemplated. Let the wild rumpus begin.
Here’s my earlier blog on the subject.
Here are photos of a couple of the planks and the sweep of the first four (from the right) of the eight:
[Photos by Susan Monti, January, 2014]
David Hockney David Hockney working on The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), Version 3, 2011
The Exhibit Design
I mentioned the design of the Hockney exhibit earlier. I don’t know if Hockney was personally involved in the placement of the works although he has sometimes,¬†as with the Royal Academy exhibit in 2012, accepted exhibit invitations because of the presentation possibilities.
In any case, it was a huge exhibit, 398 pieces of art, and according to the de Young website, was under the curation and design direction of Gregory Evans.¬† Beginning with the sly confrontation of The Massacre: The Problem of Depiction, the exhibit seemed to be designed to walk the viewer through the problem of what Hockney calls “pictures.” It was not chronological in any sense; it placed pictures painted in the same place, sometimes together, and sometimes not, but, at least in the landscape section, the viewer was moved inexorably in the direction of larger and larger depictions.