On at Tate Britain from Feb- 29th May 2017.
I have looked to Hockney from the age of 15 so that’s 30 years. I have never seen this much of his work in one area, what really impressed me was the structure of the exhibition, you felt like you were walking through time while holding hands with Hockney. In the catalogue they explain that its a survey of almost 60 years of his art, Classic Hockney alongside his variety of use of media later on. My senses were Intune with the environment being depicted, its very relevant to this exhibition as the heat radiating from the canvases from his time in Los Angles and California to his more shaded quiet times in Yorkshire. When I was at art school , his photos were what I gravitated towards, because he is expressing the changing perception though the distinction between paint and photography, its all about understanding space, the perception of space and the experience of looking. These retrospective exhibitions , like with the Rauschenberg (Dec-April Tate modern 2017) are very influential as you are saturated with seeing their work, normally I see one or two works within a series of work that are connected tediously in pedantic curator style. This showing of all this work is so intense you almost need an interval half way round as it starts to lose its defining language. A problem with modern times is that we are saturated with visual language, we have stopped listening and conversing as such we have become passive spectators and lost our credibility in the act of conversing in the language of art. So when I see this much of Hockney together I thought I needed to tell myself to keep observing each painting but it was to intense and very busy, so I just made notes about certain works that really affected me. The gallery and exhibition was very easy to get lost in mentally. I found I had to keep walking as could have just sat down and watched the interaction between watchers and canvas. The last two rooms; videos of the changing seasons and the IPad paintings being played back, were the most popular. These rooms darker and you are standing shoulder to shoulder and being careful not to trip over as children sitting on the floor. The feeling of this area was intimate, people were responding by feeding their fetish of passive spectator, watching things unravel, paintings being created, landscapes hovering. They were all watching as in expectation that something was going to happen next, something other than what they were expecting. Passive willingness for replacement of our time.
Notes from Exhibition.
The painting of ‘Peter getting out of Nicks pool’ 1966 was rewarding to see this close up as the pattern used for the water is yellow and pink beside each other, these colours are not picked up on in photos. The painting was thinker than I had expected so I could see the layers of paint. In this room was ‘ the lawn being sprinkled’ 1967. Again I noticed areas of paint that were dealt with differently such as the a spray of paint was controlled and then dabbed for bigger drops , its also a good example of aerial perspective. I was much more observant of the patterns used in his work such as ‘Henry Geldzahler’ 1969 where the glass top table and spectacles are surrounded by diagonal lines. His colours are fantastic and have noted down an interesting pallet such as
- Brown sienna
- Cadmium orange
- Cobalt blue
- Azure blue
- He often works on a white background so his colours are bright.
- Scrapes paint with a comb, its a pattern used in his compositions.
- Green skys with blue violet.
- Desires to work and master a variety of media
- Variety of line and luminosity of colour.
- ‘ I do not think the world looks like photographs. I think it looks a lot more glorious than that.’ exhibition catalogue; 10 the Wolds.