David Hockney — Page 2

Hockney’s Multiple Market: Deep, Complex and Volatile

January 30, 2017 by Marion Maneker

Last week, the folks at Artnet published some data on David Hockney’s market, including a breakout of the sales of Hockney’s prints and multiples. Turns out the Hockney multiples market has more complexity and volatility than market for his paintings.

Colin Gleadell went into greater detail. He points out that Hockney’s penchant for trying new media has meant that his multiples market is also segmented by collectors who are interested in the specific experiments made possible by each of the mediums.

He breaks it down thus:Continue Reading

Taschen Previews 680-page David Hockney SUMO

October 23, 2016 by Marion Maneker

The folks at Taschen sent out this press material to entice pre-orders for their new David Hockney SUMO modeled on the Helmut Newton book they did several years ago:

The SUMO is conceived as a visual autobiography, spanning six decades of Hockney’s art. It has been personally curated by the artist over the past 15 months, together with Benedikt Taschen and editor Hans Werner Holzwarth.

Hockney’s Hangs onto the Old Habits and Embraces the New Technologies

October 17, 2013 by Marion Maneker

David Hockney, Four Views of Montcalm Terrace

Ellen Gammerman interviews David Hockney for the Wall Street Journal and the subject of new technologies comes up:

Asked if he had any digital works currently sitting on his devices, Mr. Hockney pulled out his iPhone and opened a picture he’d taken from his bedroom window a few days before, an impossible multi-perspective shot of the sunrise for which he used an app, Juxtaposer, to stitch together four separate images. Back when photocopiers and fax machines were new, he made art using those machines.

More recently, he has been creating “cubist movies,” digital films employing as many as 18 cameras tilted at different angles to subtly distort a scene as it plays across multiple screens.

His fascination with technology sparked an art brawl in 2001 with the release of his book, “Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters.” In it he wrote that some early Renaissance artists such as Jan van Eyck used optical devices like concave mirrors to make pictures that were too perfect to be explained by talent alone. Critics said he was accusing the Old Masters of cheating.

In the de Young exhibit’s catalog, Mr. Hockney writes about “a fundamental change in picture making” now taking place as new technologies change the way artists see the world. He sounds happy about it, too: “It will mark the end of the old order,” he writes, “which is no bad thing.”

David Hockney’s Restless Decade (Wall Street Journal)