scholarly journals FILM NEGATIF SEBAGAI MEDIA AKHIR: KONSTRUKSI BENTUK DAN MONTASE FILM NEGATIF DALAM FOTOGRAFI SENI

2018 ◽  
Vol 1 (2) ◽  
pp. 89-102
Author(s):  
Fachrozi Amri
Keyword(s):  
David Hockney

Karya fotografi dalam penciptaan ini merupakan upaya untuk memanfaatkan teknologi yang sudah ditinggalkan. Pemanfaatan media fotografi analog sebagai salah satu alternatif baru yang ditawarkan dalam riset penciptaan ini yaitu menghadirkan kembali media film negatif sebagai sarana media akhir tanpa melalui proses cetak positif. Butuh penanganan khusus dalam membuat karya ini, artinya ada usaha-usaha menembus batas atau menawarkan kemungkinan lain dari kebiasaan fotografi pada umumnya, yang tidak banyak dilakukan oleh fotografer. Karya diciptakan tidak hanya sekedar menggunakan media film negatif saja, melainkan memuat puluhan bahkan ratusan lembaran film negatif yang saling terhubung secara sintetis. Penyusunan lembar-lembar tersebut (nomor 1-36), adalah salah satu upaya untuk menghubungan antara peran kreasi, desain, konstruksi dan ketelitian. Pendekatan karya ini hadir dengan mengkonstruksi bentuk, yang juga dikerjakan oleh seniman asal Inggris yaitu David Hockney (80). Dalam karya yang dikerjakannya, Hockney mengkonstruksi ulang potong-potongan bentuk, menggunakan cetakan polaroidnya, lalu menggabungkannya kembali menjadi bentuk yang telihat distorsi. Sifat fisik film negatif terbuat dari bahan plastik celuloid transparan, maka dibutuhkan cahaya tambahan, dengan cara menyatukan antara lembaran negatif ke lembaran negatif lainnya, sehingga dapat terlihat utuh kontruksi bentuknya. Kata Kunci: film negatif, kontruksi, fotografi

scholarly journals O conhecimento secreto de David Hockney e as múltiplas janelas de tempo nos desenhos de Jandira Lorenz

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Sandra Makowiecky ◽  
Vanessa Bortucan de Oliveira
Keyword(s):  
David Hockney

Pensando na relação “leitura visual: arte, mídia e cotidiano”, entre ciência e imagem e nos processos de produção de imagens com problemas estéticos e de representação, alguns artistas nos chamam a atenção, pois utilizam a própria arte como fonte de aprendizagem, em procedimento científico, de forma mais explícita. Um deles é David Hockney, que com o livro "O Conhecimento Secreto", nos explica como tenta redescobrir as técnicas perdidas dos grandes mestres, mostrando seu fascínio pela pintura, pelo mágico universo surgido da capacidade e necessidade que tem o homem de representar a realidade e de inventá-la.
O outro é a artista plástica Jandira Lorenz, professora de história da arte, que em sua produção revela sobrevivências, sintomas de sua experiência com os estudos em arte. Este artigo visa construir um pensamento em relação à montagem de tempos históricos diversos nas obras da artista Jandira Lorenz com o livro de David Hockney que contribuiu com a possibilidade de estabelecer um ponto de convergência quanto às características de multiplicidades e particularidades na compreensão das imagens vistas por janelas múltiplas na recente pesquisa do acervo completo de desenhos de Jandira Lorenz. Ao enfocar a ligação desses dois artistas com a arte e a ciência, sobretudo, enfatizamos o valor da pesquisa artística. 

Selective Preparation of Canvas as an ‘Artistic Device’ in David Hockney’s Early Paintings (1964–1972)

2020 ◽  
Vol 8 (3-4) ◽  
pp. 311-336
Author(s):  
Hannah De Corte
Keyword(s):  
Paint Layer ◽  
Road Trip ◽  
David Hockney ◽  
The Impact

In the mid-1960s and early 1970s, David Hockney opted for a particular application of primer in the ground layers of some of his paintings — that is, a partial or ‘selective’ type of preparation. By selectively preparing certain areas with one or more layers of (gesso) priming, Hockney introduced a slightly higher and white pictorial plane in selected areas while retaining the properties of raw canvas in others. In one of Hockney’s most discussed paintings, Portrait of an Artist (Pool with Two Figures), for instance, selective preparation divided the surface and set the stage from the ground up. This paper examines the impact of this highly original and hybrid formula on perception by the viewer, focusing on how the eye registers the change in properties of the paint layer. It outlines Hockney’s investigation of the primed/unprimed opposition through the use of selective preparation, and the variety of effects it allowed him to achieve in one canvas. From its anecdotal use in 1960s road trip paintings to its more pronounced use in pool paintings in which Hockney used unprimed canvas to convey the ‘wetness’ of water, selective preparation was a device for him to compellingly increase contrasts and tension. Far from producing mere formal effects or serving solely as citations (of stain paintings for instance), the perceived technical oddity produces meaning. From the ground layers up, it deeply influences the perception, and thus the interpretation of the discussed paintings.

David Hockney: a bigger exhibition

2014 ◽  
Vol 51 (08) ◽  
pp. 51-4253-51-4253
Keyword(s):  
David Hockney

Archiving an Epidemic

2019 ◽  
Author(s):  
Robb Hernández
Keyword(s):  
Southern California ◽  
Chicano Art ◽  
Aids Crisis ◽  
Robert Mapplethorpe ◽  
David Hockney ◽  
Christopher Isherwood ◽  
And Performance ◽  
Definition Of

Archiving an Epidemic is the first book to examine the devastating effect of the AIDS crisis on a generation of Chicanx artists who influenced transgressive genders and sexualities operating in the Chicana and Chicano art movement in Southern California. From mariconógraphy to renegade street graffiti, from the Barrio Baroque to Frozen Art, these visual provocateurs introduced a radical queer languageemboldened by opportunities in LA’s art and retail culturein the 1980s. AIDS not only ravaged their lives, but also devastated their archives. A queer archival methodology is demanded to ascertain how AIDS and its losses and traumas have rearticulated recordkeeping practices beyond systemic forms of preservation. The resulting “archival bodies/archival spaces” of queer Chicanx avant-gardists Mundo Meza (1955–1985), Teddy Sandoval (1949–1995), and Joey Terrill (1955–present) refutes dismissive arguments that these provocateurs have had little consequence for the definition of the aesthetics of Chicano art and performance. With appearances by Laura Aguilar, Cyclona, Simon Doonan, David Hockney, Christopher Isherwood, Robert Mapplethorpe, and even Eddie Murphy, this book stands in defense of the alternative archivesthat emerged from this plague. Thinking outside traditional terms of institutional mediation, Archiving an Epidemic speculates not what Chicana/o art is but what it could have been.

David Hockney by David Hockney

Art Journal ◽  
1978 ◽  
Vol 38 (1) ◽  
pp. 66
Author(s):  
Jeanne Siegel ◽  
Nikos Stangos ◽  
David Hockney
Keyword(s):  
David Hockney

scholarly journals “Sex doesn’t dominate my life at all, really. I think painting does” (David Hockney): the emergence of the queer artist biopic

2012 ◽  
Vol 5 (3) ◽  
Author(s):  
David Bovey
Keyword(s):  
Queer Cinema ◽  
Artistic Life ◽  
Derek Jarman ◽  
Sexually Explicit ◽  
The Media ◽  
David Hockney ◽  
The Creation ◽  
Innovative Techniques

In the classic tradition of artist biography there has grown up a number of myths and tropes that have encouraged a pre-ordained pattern for the portrayal of an artistic life, whether literary or cinematic. Within the sub-genre of the artist biopic must now be added the category of queer artist as already distinct tropes have emerged in this relatively new field. Where discussion of Michelangelo’s sexuality was deliberately avoided in The Agony and the Ecstasy (1965), within ten years there was a sexually explicit exploration of the gay lifestyle in 1960’s London in A Bigger Splash (1974). This openness and an aggressive style continued in subsequent British artist biopics though not without provoking censorship challenges and some outspoken critiques in the media. To make the filmic representations acceptable to cinema audiences, and to convey the feel of the artist’s paintings, the directors used very innovative techniques to present their story. The auteurs behind these films, such as Derek Jarman, saw them as distinctly political in intent. Overall the queer artist biopic has shown more interest in exploring the private sex life of the artist than in the creation of his artistic output, but through such controversial content the artist biopic finds its place within the development of both a gay and a queer cinema.

scholarly journals Diálogos entre imagens: fotografia e pintura na pop art britânica (III)

2011 ◽  
Vol 16 (27) ◽  
Author(s):  
Annateresa Fabris
Keyword(s):  
Pop Art ◽  
David Hockney

David Hockney é quem leva mais longe um contato sistemático e conflituoso com a fotografia, fonte iconográfica de quadros, e imagem direta em colagens e montagens, que colocam à prova as capacidades visuais do observador. Apesar de um uso sistemático da imagem fotográfica, Hockney considera-se um artista que utiliza a câmara como um lápis, apontando para a busca de um sistema compositivo no qual possam coexistir diferentes possibilidades visuais.

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