Now that Andy is gone, how will people know what the hot spot is each night? Andy always knew.
—David Hockney, looking over the Manhattan skyline on the night of Andy Warhol’s memorial service
Pearblossom Highway, 1986
Pearblossom Highway’ shows a crossroads in a very wide open space, which you only get a sense of in the western United States… . [The] picture was not just about a crossroads, but about us driving around. I’d had three days of driving and being the passenger. The driver and the passenger see the road in different ways. When you drive you read all the road signs, but when you’re the passenger, you don’t, you can decide to look where you want. And the picture dealt with that: on the right-hand side of the road it’s as if you’re the driver, reading traffic signs to tell you what to do and so on, and on the left-hand side it’s as if you’re a passenger going along the road more slowly, looking all around. So the picture is about driving without the car being in it.
“CARIBBEAN TEA TIME” FOLDING SCREEN
David Hockney (British, born 1937)
Happy birthday, David Hockney :)
Hockney’s folding screen shows the influence of both his stage designs and his photographic collages executed during the 1980s. The use of triangular and square shapes to define different spatial areas is comparable to the spatial explorations of his set designs for Parade, Le Marmelles de Tiresias, and L’Enfant et les Sortileges, a trilogy that premiered at the Metropolitan Opera in 1981 and his dislocations within what would be a continuous area approximate Cubist-like infractions because the artist has overlapped clustered views and multiple prints of the same photographic frame.
An Ode to Cézanne
finally a show that allows me to exhibit my almost useless knowledge of french post-impressionists.
Edward Munch’s The Scream has sold for a record $119,922,500
“I was walking along a path with two friends - the sun was setting - suddenly the sky turned blood red - I paused, feeling exhausted, and leaned on the fence - there was blood and tongues of fire above the blue-black fjord and the city.
My friends walked on, and I stood there trembling with anxiety - and I sensed an infinite scream passing through nature.” — Edward Munch’s inscription on The Scream
Marie-Berthe Aurenche, Max Ernst, Lee Miller & Man Ray, 1930s
Salvador Dali & Coco Chanel