508 West 25th Street
November 8, 2014 – January 10, 2015
New York—Pace Gallery is pleased to announce Some New Painting (and Photography), David Hockney’s first exhibition of new paintings since 2009. Following The Arrival of Spring, it is Pace’s second presentation of Hockney’s work this year. The exhibition will be on view at 508 West 25th Street from November 8, 2014, through January 10, 2015. To accompany the exhibition, Pace will publish a catalogue featuring a new essay by critic Martin Gayford, author of A Bigger Message: Conversations with David Hockney (Thames & Hudson, 2011).
Some New Painting (and Photography) is Hockney’s first exhibition of works completed since his return to Los Angeles from England, where he spent a decade pictorially exploring the East Yorkshire landscape of his youth.
The works in the exhibition demonstrate Hockney’s longstanding dedication to painting and to depicting the human figure. Hockney made all of these works in his Los Angeles studio using live models—friends, colleagues and dancers. The exhibition includes seated portraits of individuals, a series of paintings that recalls Matisse’s masterpiece Dance and paintings of figures posing in his studio. Hockney moved his figures and objects around the studio. Playing with time and space, some figures appear more than once in the same painting.
The paintings highlight enduring interests and motifs in Hockney’s work: art history, pictorial space and portraiture. Martin Gayford wrote these paintings create a new kind of pictorial space: “Each figure contains within it multiple points of view, and so does the picture as a whole. Consequently, the viewer in turn feels in a different relation to every person in the picture, and the whole painting feels very different to one that contains just one angle of vision.”
The exhibition also includes five photographic drawings exhibited on high-definition screens. The works juxtapose elements he has drawn with photographs taken during sessions painting groups in his studio. Following his recent iPad drawings and video works, the photographic drawings continue Hockney’s use of technology to produce images.
Although each figure depicts someone specific, Hockney is less interested in representation or documentation. Rather he is interested in advancing his study of pictorial space and perspective. Art historian Kay Heymer wrote, “Hockney treats the people in his pictures as actors in a scheme reaching beyond biographical or psychological narration. He is on a continuous journey, his art testifying to what he has seen.”
David Hockney (b. 1937, Bradford, England) has produced some of the most iconic artworks of the twentieth and twenty-first centuries. Hockney’s ambitious and multifaceted approach to art has led him to embrace a range of methods and technologies, yet his work always remains rooted in and connected to painting. “I’m quite convinced painting can’t disappear because there’s nothing to replace it,” Hockney said. His forays into other media have continued, yet his work since 2005 has accounted for what Lawrence Weschler has called “the fiercest, most joyous, most sustained, and most prolific bout of painting of his entire career.”
Hockney received the gold medal for his last year at London’s Royal College of Art in 1962, the first of numerous accolades accrued in his career. Hockney had his first solo show at the age of 26. In 1970 Whitechapel Gallery, London, organized a travelling one-artist exhibition that was the first of several major museum shows worldwide. In 2012 Hockney was appointed a member of the Order of Merit by Queen Elizabeth II.
His paintings of the town of Bridlington were first shown at the Kunsthalle Würth in David Hockney: Just Nature (2009) and later that year at Pace in David Hockney: Paintings 2006 – 2009, the artist’s first New York exhibition of new work in twelve years. More recently, the Royal Academy of Art, London presented David Hockney: A Bigger Picture, a sweeping retrospective that traveled to the Guggenheim Bilbao and Museum Ludwig, Cologne (2012–13). In 2013, the Los Angeles County Museum of Art presented two exhibitions of the artist’s multichannel videos, and the de Young Museum, San Francisco, mounted David Hockney: A Bigger Exhibition, which included work from The Arrival of Spring, Pace’s 2014 exhibition of his videos and iPad drawings.
Hockney lives and works between Los Angeles and Yorkshire. This is his third exhibition with Pace.
2014. Pace Gallery. Paperback
54 pages: 24 color illustrations; 11 ½ x 9 ¾ inches