“When I’m working I feel like Picasso, I feel I’m 30.” –David Hockney
It would be inaccurate to say that David Hockney has made a recent comeback. Still prolific at age seventy-seven, he has managed the unlikely task of staying relevant throughout his entire career – which now spans more than five decades. It would, however, be accurate to say that he is having a “moment.”
Hockney created a ripple through New York’s art world this October with an exhibition of his iPad prints; a pioneering mode of art that he conceived of in its entirety. The Arrival of Spring–which also featured charcoal drawings and a nine-screen video installation–drew large crowds to Pace Gallery and topped multiple “must-see” exhibition lists from prestigious publications.
The exhibition was directly followed by Some New Painting (and Photography), also at Pace, this time featuring twenty-two of Hockney’s most recent figurative works; seated portraits of individuals, a series of paintings that recall Matisse’s masterpiece Dance, and a selection of photographic drawings displayed on high definition screens. Playing with perspective, time, space, movement and–most notably–technology, Hockney demonstrated his longstanding commitment to depicting the human figure and to exploring the intersection of art and technology.
In addition, a new documentary directed by Randall Wright, which provides an intimate account of Hockney’s life in art, was released in December. This monumental event was preceded by the release of Christopher Simon Sykes’ second biography of Hockney just weeks prior.
Hockney’s prodigious and varied output continues to delight admirers of his art, who eagerly wait to see what he will produce next.
–Sophie Wallace, December 2015