DAILY OBJECTS AND POPULAR CULTURE IMAGERIES IN DAVID HOCKNEY’S WORKS

The aim of this research is to investigate the reasons why David Hockney addresses daily objects in his works. At the same time, it aims to reveal the nature of the relationship between popular culture and daily objects. Thus, the types of differences between Hockney and his contemporaries will be identified; while determining how pop artists reflect popular culture on their works. The scope of the research includes an analysis of David Hockney’s works. By including works from artists such as Henri Mattise, Andy Warhol, and Fikret Mualla; their relation to the subject has been presented. The subject of this research bears importance in terms of providing a criticism of current issues that are based on daily objects in art. Therefore, the research is divided into artists and eras that can serve as a reference for daily objects and popular culture imageries. The research problems can be listed as: what are the characteristics that separate David Hockney from his contemporaries, why does David Hockney require daily objects in his art works? What is the nature of the relationship between daily objects and popular culture? Are daily objects in art a product of popular culture? In what context do the works of Hockney and Matisse show similarities? What is the connection between daily objects and Duchamp? Are daily objects in art a critique of modern art? It is expected that the answers to all these questions will shed a light on popular culture imageries and art today, along with David Hockney’s works. Thus, once more, this study intends to create awareness to the association of “art and life,” which is frequently used alongside modernism. Keywords: Popular culture imageries, daily objects, David Hockney, mass culture, art and life

Fourteen Poems by C. P. Cavafy, chosen and illustrated by David Hockney, translated by Nikos Stangos and Stephen Spender (1966–67)

Review of: Fourteen Poems by C. P. Cavafy, chosen and illustrated by David Hockney, translated by Nikos Stangos and Stephen Spender (1966–67) London: Editions Alecto, Edition A, Folio, illustrated with 12 etchings bound and 1 loose etching, cotton silk boards and silk slipcase, limited edition item

La estructura temporal en la obra de Enric Miralles

<p>La arquitectura de Enric Miralles ha sido analizada, principalmente, desde su proceso de dibujo, su método de trabajo, su dimensión de hipertexto y su secuencia imaginaria. Incluso, es posible que, en algunos trabajos, exista cierta indagación psicoanalítica, dado que en sus textos enlazan imaginario, fantasías o fantasmas. Sin embargo, el tiempo constituye la reflexión que integran todas estas variables y pocas investigaciones se han centrado en la compleja relación de su estructura conceptual y su estructura teórica discutidas paralelamente. Esta relación fue trabajada por Miralles en su tesis doctoral y experimentada a partir de la lectura de Michael Foucault, Gilles Deleuze y George Kubler. Todo ello sucedió en un difícil escenario para la historia de nuestra disciplina, momento en el que se afianzaban las teorías deconstructivistas con escaso rigor; marasmo del que Miralles pretendió alejarse a través de la prospección plástica extraída de Jordi Pericot, Georges Perec o David Hockney. Asumiendo la síntesis que afirma que el arquitecto empleaba el tiempo como materia de proyecto, este artículo realiza una investigación de su razón constitutiva. Así, siguiendo sus reflexiones de la mano de las estructuras teóricas y estéticas referidas, se reconstruye arqueológicamente las distintas dimensiones del tiempo experimentado por Miralles, identificado desde las heterotopía, los dispositivos temporales; analizando su pretensión de conformar máquinas transformadoras desde el imaginario evocado como germen productor de satisfacción, se comprobará la necesaria solidez conceptual que su arquitectura propone. </p>

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

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.

“No canto do mundo do capital”: sobre experiência, educação e arte

Este artigo apresenta uma discussão a partir de uma prática permeada pelo conceito de experiência e pela sensibilidade. Para isso, o conceito de experiência é revisitado em autores como Jorge Larrosa (2015), Walter Benjamin (1994) e John Dewey (2010; 2011) e a “educação (do) sensível” é fundamentada a partir da reflexão de João Francisco Duarte Júnior (2010), voltada aos campos da Educação e da Arte. A prática ocorreu em um shopping em busca de experiência, foi nomeada como “No canto do mundo do capital”, narrada no segundo momento do texto. Como fechamento, um eixo de sistematização da experiência relacionado aos aspectos sociais se desdobra para o campo da Arte, especificamente relacionado a categorias de obras dos artistas Andy Warhol (1928 – 1987), Maryam Jafri (1972), Andreas Gursky (1955), Albrecht Dürer (1471 – 1528), David Hockney (1937), Jeff Wall (1946), Nam June Paik (1932 – 2006) e Bruce Nauman (1941), e possibilita pensar em Educação. Nessa discussão, será estabelecida à prática uma relação teórico-reflexiva que a aponte como “experiência”.

Considérations sur la véritable synesthésie dans l’art et la musique

This essay focuses on the phenomenon of synesthesia. In an attempt to differentiate between genuine synesthesia and metaphorical synesthesia, I have searched for shared traits among synesthetic visual artists, as well as among composers and performing musicians. The field of synesthesia has been rife with misunderstandings. Though ever increasing numbers of exhibitions, books, and articles have used the title or subtitle, “Synesthesia in art and/or music”, few of these adequately define synesthesia. The major cause of the problem is that art and music historians and curators, as well as artists and composers themselves, have confused the desire to intermingle various art forms with the phenomenon of genuine synesthesia. I show the existence of recurrent patterns of artistic response to synesthetic experience, the evidence of shared characteristics, by taking the examples of Carol Steen, Marcia Smilack, Joan Mitchell, David Hockney, Messiaen. I also present the results of my investigation on the synesthetic perceptions of the pianist Joyce Yang.

Cut-outs and ‘silent companions’: theatricality and satire in Lubaina Himid’s ‘A Fashionable Marriage’

The article discusses Himid’s first cut-out series A Fashionable Marriage, a remaking in life-size cut-out figures of William Hogarth’s Marriage a la mode. The author draws links between Himid, David Hockney and Hogarth, and especially their shared love of the theatre. An extended analysis of the work shows how Himid uses satire to stake a place for Black and British art; reflective of the politics of the Black Arts Movement of the 1980s. The cut-out form is then discussed in relation to later work by Himid and linked to 17th-century Dutch ‘dummy boards’ or ‘silent companions’.

Archiving an Epidemic

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.