View allAll Photos Tagged davidhockney
poem text:
gigantic parrot
a simple taxidermy
copy or translation
acrylic ink, paper materials, and oil pastel on paper.
text source; Spring Cannot be Cancelled by David Hockney and Martin Gayford
533-018
Aix-en-Provence, musée Granet, David Hockney, collection de la Tate Gallery - Pembroke Studio Interior
1984
The Los Angeles County Museum of Art was having a David Hockney exhibit Labor Day weekend. Which I paid for, but didn't go to. Still, I found a Hockney elsewhere in the gallery and decided it was worth taking a picture of.
Salts Mill, Saltaire
Taken on my monthly birthday card run to t'mill! I like the cards they have there. I managed to find a couple of Alice in Wonderland ones for my scrap book too :)
Best seen large, on black: View On Black
The Modern Wing, The Art Institute, Chicago. With thanks to Mr. & Mrs. Weiss, of St. Louis, MO.
*** Please note: This image has been adjusted and re-uploaded following the comments (see below) of "david wittig photography [ d a v e ]," to compensate for the yellower light, and under exposure, in the former version
Created with fd's Flickr Toys.
source: actually a picture in the public domain, taken by a branch of the American government for agricultural research
A Bigger Book
A Bigger Book, TASCHEN’s SUMO-sized David Hockney monograph, is as spectacular in format as it is in scope. In it, the artist takes stock of more than 60 years of work, from his teenage days at the Bradford School of Art, through his breakthrough in 1960s Swinging London, life by Los Angeles pools in the 1970s, up to his recent extensive series of portraits, iPad drawings, and Yorkshire landscapes.
* A 480Mby MP4 Video, and is 21mins 50secs long, so must be down-loaded to get the full video, only 3 minutes are viewable within the Flickr interface.
** Right-click on the down-arrow option, the last of the three options to the lower right of the video frame. Select 'Save-As' and view...
OR download full 22min version here-
www.flickr.tightfitz.com/Bridlington/Views-In-Camera_Brid...
* Preamble
Having up-loaded the video, setting the 'private' option, so only visible to myself, before leaving, allowed me to write this narrative whilst away, just prior the the 2nd UK Covid-19 lock-down ending, on December 2nd, 2020. I haven't availed myself of this useful Flickr feature before and as this video is 480Mby in size, it seemed prudent to do this before heading out, rather than rely on 'tethering' the Yogabook to a phone connection, there being no WiFi in the 'Sticks' here, and up-loading the whole thing via the phone network; this worked out well and if needed will use this method again. Things are looking hopeful with the clear indication of he infection rathe, hospitalisations and death rate coming down, very much the opposite of what is happening in the USA where the leadership, such that it was, by Trump, has been at very best, flawed in the extreme, we are now hoping for a reversal of the mayhem and disaster Trump has been the owner of, to end when Joe Biden takes office in a few weeks and decency, respect, mature governance, takes the place of the disaster wrought by Trump.
The easing on Wednesday the 2nd December of the UK/England lock-down, prompted a return to the locale of the video seen in this piece... to complete the final parts of the work, on-going now since September..
The last 62 pictures were taken at appropriate times this year. To start, that was from 11-13th March 2020, just before the initial lock-down commenced at the end of April lasting until the end of the 1st week in July. Just after this ended, the pictures from 3rd until the 10th of July, 2020. Another set from the 16th to the 21st August, 2020, with just 2 from, 23rd September, 2020. And finally, the last 21 from 18th to the 21st October, 2020 after which we were subject a further lock-down, with less stringent rules than the first, from 2nd November continuing, as I write this, until tomorrow, December 1st, 2020. It will be clear in the video, about 3/4 of the way through, when the 1st lock-down was going to commence, 2 weeks after the pictures were taken, that people had already decided to 'leave the building', as it were, as almost all of the scenes all of the last 62 scenes were devoid of any great human presence...
The two years prior to all this, 2018 and 2019, show scenes common to this and almost all of the East Yorkshire and East Lincolnshire coastal seaside resorts, stretching from as far south as The Wash to as far north as Whitby in North Yorkshire. Some locations are more 'picturesque' than others and the very popular ones, are very popular indeed if the weather is right, though bad weather doesn't put folk off necessarily.
To be seen in the sequence are all manner of entertainment, classic, landscape and human views, taken in the main on the camera phone as I deemed it good enough for all of these shots including the two 'Then & Now' pieces, right at the end where the 'Then' shots were both taken on, I think, my newly purchased Russian, 1st SLR, 'Zenith-B' camera, both in 1971. The two 'Now' shots being taken on 23rd September, 2020 for the beach shot and 26th April, 2019, for the Auburn Sands shot. I have been a bit pedantic about all this as I want to have an accurate record of what has been happening to us this year and this appeared a good way of fulfilling that requirement.
As might be expected the July and August shots show a lot of colour with the most being made out of the amusement arcade features which figure so strongly on the main promenade in the centre of town. I am not of fan of this stuff anymore, though I certainly used to be and prefer now the more landscape oriented material which, as Adrian Wynn put it in the introduction to one of his few books, 'Spurn Photographs 2005 - 2009'-
'... I'm a city photographer used to logging the drift in a landscape of elusive utopias, picturing blocked sightlines and the erasure of industrial memory; trying to wrest a visual metaphor from a derelict building or a plastering of graffiti...'
which in my own way I try to achieve as well; I have also had a few classics, the unexpected type of which this particular one has achieved a total of 18,700 hits to date-
www.flickr.com/photos/daohaiku/8811035386/
And I was only there for a class 37 Network Rail Test due through after the 'Lady in Heels' had left on the TPE service along the Hope Vally; wonder if she has ever seen this shot... Along with serendipitous shots like the one linked too above, the video also contains some historical context, one in the form of some shots of various UK and US 'classic cars', the state of some of Bridlington's large, Victorian, and at present empty, hotels can also be seen. There are also two examples of converted vehicles, one brown and white example with 'Carawagon2017.co.uk' on the side, parked in the Lidl car park at Bessingby taken on 26th February, 2919. The other, a beige Volkswagen Caravette front attached to a caravan body, and is a 1800cc 'Jurgen Autovilla', built in 1975, the picture taken on 21st June, 2919. Its a handsome looking vehicle with a handsome price, £18,000, and was imported from South Africa in 2019, just before the photograph was taken, having only done 45,000 miles, in excellent condition, garaged and with all original fittings..
As well as being at the 'head' point of the start of the 'long-shore drift', the East Yorkshire Coastal erosion is severe, see-
www.urbanrim.org.uk/data-in-detail.htm#comparison
and other pages relating to this, Bridlington is well adorned to the north, with spectacular cliffs and two such good examples are the Flamborough Head lighthouse and cliffs and to its north, the Bempton Wildlife sanctuary, home to hundreds of nesting puffins, in the Spring and up to around July, see-
www.rspb.org.uk/reserves-and-events/reserves-a-z/bempton-...
Thornwick Bay isn't far off but the beaches here and at Flamborough require quite a descent down steps from the top to access the waters.. both dolphins and seals can be spotted along these shores. Between Bridlington and Flamborough there is the Sewerby animal park, an easy walk along the beach and beyond that, Danes Dyke a prehistoric ditch and bank which runs right across the Flamborough Headland, ending at, well, 'Dyke's End' above Thornwick Cliffs, see-
Bridlington Harbour is full of interest including, now, a Lobster Hatchery on the upper deck of the the old harbour building at the end of the Quay...a visit is well worth it and we were treated to a half hour talk and look around, by the researcher who was clearly thankful for some local interest.. even in the difficult times during this last year, see-
www.eastriding.gov.uk/say/news/?entry=5f56506aea1f6915b45...
and
planetradio.co.uk/greatest-hits/yorkshire-coast/news/brid...
The old Carnaby Airfield, now an industrial estate of course, Water Treatment works was also photographed in April, 2019, graffiti'd on the inside. It still contains some of the original equipment and has now been sold and a wooden fence placed around it, nothing else has happened to it since then..
Shots of the southern side of Bridlington Bay from Wilsthorpe, south through Auburn along Fraisthorpe Sands, location of the 2009 UFO sightings and Air Force investigations, see-
then south along some dire examples of coastal erosion, Barmston, Ulrome, Coble Gap and Skipsea, all with plenty of evidence for 10s of metres of cliff loss just over the last 10-20 years. The caravan sites, many of them perilously close then, have lost large sections of sites and, in some cases, caravans as well.
The next section is devoted to a miscellany of shots around the town centre and harbour with warm and sunny conditions prevailing in May & June last year, 2019; there was occasionally a distinct lack of life some of the time, probably during school term-time. School holidays are the times we try to avoid being here though this year it hasn't made much difference as folk have been absent most of the time anyway.
Some artists semi-abstract renditions of the coastal weather here when it can get very rough and speaking of school-term time, there was a happy bunch of the younger set with their teachers, on the beach in the town centre in mid-July last year. One of the times we try to avoid but the weather was good so..
The 'Pirate Ship' runs trips out into the bay for around half an hour and the ship is usually full, this year when it has run, there have been social-distance rules to follow, so its always only around half-full. Folk and their pets follows, with the a 'pet transport' system which served to surprise and raise a titter about. And old, World War II pill-boxes, once on land are now on
the beach, like much else along this coastline which has suffered severs erosion since the last war.
A sequence of shots on a day out on the train to Scarborough follows, featuring the now not-so-Grand Hotel, on the cliffs over-looking South Bay.The shots show the ever present 'Cliff Lift' which, as a boy, I used to use regularly when my family came here in the late 50s and 60s, on their Summer Holiday. The stayed in what was then an up-market place, or so I thought, the 'Castle Hotel' and though I went and looked, it no longer exists as a hotel but has been turned into modern looking flats. On one notable occasion, my mother decided we ought to stay in something a little cheaper and using the technology of the early 1960s, a brochure I guess, selected the 'Bell Hotel, which is also still there, over-looking the bay with a rather commanding view at the end of 'Blands Cliff'. Unfortunately the two rooms which she supposedly booked, a double and one with two singles for me and my sister, turned out to be a single only, with the offer I could sleep in the corridor on a camp-bed! You can imagine the response that elicited and we promptly left and went back home. A few weeks later, catching what must have been the electric service from Sheffield Victoria, THROUGH WOODHEAD, to Manchester London Road and thence by taxi to Manchester Victoria and finally on to Blackpool for the week's holiday we had missed just a few weeks before in Scarborough...
More shots around Bridlington follow with one, taken in one of the pubs, 'Rags', over-looking the harbour shows a set of large photographs mounted on the wall of the gents toilet and showing women's legs raised up against the wall, desporting nylons and high heels; honestly this is always serendipitous...'Rags' has now gone and the establishment has been taken over by another hostelry, not sure what's on the walls of the Gents anymore as I haven't been in the place for over a year.. Followed by a local character looking over the harbour with a billboard preaching a good deal of kindness and common sense, even though the religious over-tone is not to my liking..the sentiment is there.
Shots of some very rough seas and more on the amusement arcade are followed by another day trip on the local DMU service which plies between Hull and Scarborough, this one taking us to Filey and its very fine, well-maintained N.E.R. Station. The seafront at Filey, the town and Filey Brig can all be seen on a day of changeable weather.... Just over a month later, we are back again at the very end of 2019, on the 30th December and at 15:00 that afternoon, some terrific light on the beach, looking north from wilsthorpe to the centre of Bridlington, now with a few folk about walking in the cold weather. And, looking south at 15:15, the sunsets behind one of the many wind turbine farms along this coast, which all take very great advantage of the prevailing wind conditions..even the Fish & Chip shop is open and in festive mood, Covid-19 and lock-down being unheard of at this early date, but, it was seemingly in its way..
* David Hockney
The interest in photographing the lamp standards along the promenade has arisen from the fact that the artist, David Hockney, lived in Bridlington for a number of years from around 2006 and these, or rather their predecessors feature in one of his paintings, 'Rainy Night on Bridlington Promenade', of a view looking along here to the Harbour. He is now well known for the tremendous amount of very large, mosaic, landscape paintings he finally completed of the East Yorkshire countryside around and very close to Bridlington. He lived at the southern end of the promenade in a rather imposing Victorian house at the top of Kingston Road, overlooking the bay. He used to have his coffee and a smoke at one of the local cafes along the promenade towards Bridlington about a half mile away. There was a tragic incident at the house when one of his studio assistants, Dominic Elliott, whilst high on cocaine and ecstasy took an overdose of drain cleaner and killed himself in March, 2013, see-
www.theguardian.com/uk-news/2013/aug/29/david-hockney-ass...
Davis is featured in the Yorkshire Post, see-
www.yorkshirepost.co.uk/heritage-and-retro/heritage/other...
at the Tate gallery in London-
www.tate.org.uk/art/artists/david-hockney-1293
and at Salts Mill-
saltsmillshop.co.uk/collections/david-hockney
the incident above relating to his assistant, also ended sadly when Hockney finally quit Bridlington in 2016... from the Yorkshire Post-
'...No longer in residence
Who could blame David Hockney for swapping the east coast of Yorkshire for the west coast of America? Now that the artist has sold his home, he’s cut all ties with Bridlington. The semi-detached property went for £625,000 last November, according to the Land Registry, a hefty sum given that similar properties in “Brid”, as Hockney calls it, go for about £300,000...'
Hockney's presence and work in the area was the main driving incentive for us buying s place here...its a very great shame he left and went back to Los Angeles, but as the piece above says...who could blame him..
Shots along the north shore towards Sewerby Park follow with some work going on at the old Victorian boat slipway onto the beach and bridged by the promenade, there looks to be a lot of heavy metalwork involved. This is followed by a walk along the cliffs at Flamborough North Landing on an icy, sunny clear blue-sky of a day with not many folk about once more and these were taken on March 11th and word was finally getting out of a possible new epidemic, originating in Wuhan in China. The north bach and promenade are almost completely devoid of pedestrian traffic and its a clear easy walk back into town from the north beach end..Coronavirus, 2019, is on its way..
The final 60-odd shots were described at the head of this narrative.. and I am sat here now, looking out over the landscape, not half a mile from the coast, with the 2nd nationwide lock-down having just ended at midnight 16 and a half hours ago. There is little evidence of any change to matters here, then place is completely deserted, shops and hospitality venues are closed with only the garden centre, supermarkets and one fish and chip shop, takeaway, a hairdresser and a barber in town, open. The beach stretching from The Spa in town, south as far as I could see, to Auburn and a little beyond was almost completely deserted around lunchtime with, later in the afternoon, a few dozen folk out walking; this area, like many others in this part of the country is now in Tier 3.. and that's almost as bad as the total lock-down we came out of last night...
These certainly are unprecedented times, needing strong,astute, caring, truthful and competent leadership, sadly, we have none of that at all, in any shape or form... The NHS on the other hand, has been a shining light in these sometimes very dark times and at last we have got rid of that loser, Trump.
The very last pair of shots show two 'Then & Now' pieces, both from 1971 and 2019, as it turned out I had the final 'Then' shot in my slide collection from 1971, over-looked, for decades. When I finally did do a quick scan earlier on this year, I forgot all about it until recent weeks when putting this video together and then, for the life of me, couldn't work out where the shot had come from...!!! I trawled all the local sites about Bridlington and on Flickr, historic picture sites where one or two came close and tried an image identification programme which, as you might expect, resulted in hundreds of beach shots from all over.. Having spent days on it, taking a break and returning to the problem, the filename was the only clue I had and, interestingly, it was a format I always try to use, name of location-date-index, this was 'Bridlington Beach 1969-025'.. so I came to realise it must be mine..So, went back through the boxes of slides..and found it, re-scanned it, and here it is with a close match from 23rd September 2019 forming the last shot of the video..what difference to the scene is shown between, not 1969, but August/September, 1971and in fact, as mentioned above, the beach these last few days looks more like it did in 1971, than I have ever seen.. The immediately preceding pair of shots, taken in August 1971, shows my wife's family dog, 'Becky' 'man-handling' her favourite toy on the beach, a huge tyre, unthinkable to see that sort of thing on the beach these days, isn't it!! The waterway she is playing in is at Auburn Sands ans its still there, as shown in the picture on the right, from 26th April last year, 2019, my wife, sans long-gone dog, is there also...
Photos Taken in Salts Mill, Bradford. Pentax K5 ii & Pentax kit lens. The B&W photos were inspired by "Ian Beesley" a Bradford Social documentary photographer, and of course some inspired by my favourite Artist, "David Hockney".
Seven cars from Bmw Art Car Collection in Stavanger Museum of Art. A BMW 850CSI decorated by David Hockney in the foreground.
A woman passes by a few of the paintings by David Hockney in his "82 Portraits and 1 Still Life" exhibit at LACMA.
Overzichtstentoonstelling van David Hockney, van 9 februari tot en met 29 mei in de Tate Britain
De Engelse schilder, tekenaar, graficus, fotograaf en filmer David Hockney (Bradford, 1937) is een van de bekendste en meest geliefde kunstenaars ter wereld. En terecht, als je het mij vraagt. Maar ik ben dan ook een fan: ik bekijk tentoonstellingen, lees biografieën en interviewbundels, koop documentaires over Hockney op DVD. Ik verheugde me al maanden op de persvoorbezichtiging van zijn grote overzichtstentoonstelling in de Tate Britain in Londen. Nu ik daar geweest ben, probeer ik me een jonge kunstliefhebber voor te stellen die nog níet vertrouwd is met Hockney’s werk. Wat voor indruk houdt zo iemand over aan dat retrospectief in Londen?
In de eerste museumzalen maakt hij kennis met de jonge Hockney, die omstreeks 1960 rauw schildert, een beetje zoals Francis Bacon, maar dan grappiger. Poppetjes met scherpe tanden. Veel cijfers en letters in het beeld. Toespelingen op homoseks, die destijds in Engeland nog bij de wet verboden was. Na drie zalen is Hockney naar Amerika verhuisd en maakt hij strakke, klinische schilderijen in pastelkleuren van Californische villa’s met privézwembaden, vaak met blote jongens erin. A Bigger Splash (1967) hangt hier, zijn beroemde schilderij van een plons witte verf in een egaal blauw chloorzwembad. Een flard action painting in een hard edge abstracte compositie.
Dan is er een indrukwekkende zaal met Hockney’s levensgrote, ineens heel naturalistische dubbelportretten uit de jaren zeventig, van onder meer zijn bejaarde ouders, de modeontwerper Ossie Clark en zijn vrouw Celia, de schrijver Christopher Isherwood en zijn vriend Don Bachardy. Gevolgd door een zaal met alleen maar tekeningen op klein formaat. Weer gevolgd door een zaal met alleen fotowerken: de joiners uit de jaren tachtig, waarin steeds één beeld is samengesteld uit tientallen, soms zelfs honderden losse detailfoto’s. Uit de late jaren tachtig en negentig zijn er interieurs en landschappen waarin Hockney met het kubisme flirt, al schildert hij in veel bontere kleuren dan Picasso en Braque ooit zouden gebruiken. Kort na het jaar 2000 woont hij weer meer in Engeland dan in Amerika; hij vereeuwigt het platteland van zijn geboortestreek Yorkshire in grote, vaak uit meerdere doeken bestaande schilderijen, maar ook in enorme videowerken – en ten slotte weer in good old houtskool op papier. De tentoonstelling eindigt met een zaal tekeningen die Hockney op zijn iPhone en iPad maakte. Ze worden in het donker getoond op negen grote beeldschermen.
Door de decennia heen bedient Hockney zich dus van alle mogelijke technieken en lijkt hij zich weinig om stijlvastheid te bekommeren. Van die grote afwisseling geeft het retrospectief in de Tate Britain wel een idee. Er hangt van alles wat, min of meer chronologisch, en er zijn topstukken uit het oeuvre bij. Dat is knap werk van de organisatie, want de tentoonstelling is hierna nog in het Centre Pompidou in Parijs en het Metropolitan Museum in New York te zien: musea en verzamelaars moesten dus bereid worden gevonden hun bruiklenen voor meer dan een jaar af te staan.
Maar ik betwijfel of de samenhang tussen de verschillende onderdelen duidelijk is voor wie Hockney’s werk niet goed kent en wel eens wil weten wat de maker van die beroemde Big Splash nog meer heeft gedaan. De groepen werken zijn niet zo gekozen en gepresenteerd dat je begrijpt hoe de ene groep uit de andere voortvloeit, en hoe Hockney vaak in een andere vorm of techniek op hetzelfde thema terugkomt. Een paar zalen na de dubbelportretten uit de jaren zeventig hadden bijvoorbeeld enkele van zijn veertig geaquarelleerde dubbelportretten uit 2002 getoond kunnen worden. (En, idealiter, helemaal aan het einde een paar van de 82 grote portretten die hij tussen 2013 en 2016 schilderde – maar dat was helaas niet mogelijk omdat die hele reeks momenteel in Melbourne hangt.) De informele iPadtekeningen van een asbak, bloempotten op de veranda of een iPhone aan de oplader zouden minder uit de lucht komen vallen als ze waren voorafgegaan door de felgekleurde, originele stillevens uit de jaren negentig: schilderijen van onder meer narcissen, broccoli, een plastic terpetinefles en slapende teckels.
Omdat de diversiteit in het oeuvre meer nadruk krijgt dan de continuïteit, is de solotentoonstelling in de Tate een soort groepstentoonstelling van één kunstenaar geworden. Van de catalogus wordt de bezoeker niet veel wijzer: de auteurs daarvan doen hun uiterste best Hockney alsnog in te lijven bij de moeilijke moderne kunst waar hij al zestig jaar vrolijk omheen fietst. ‘Hockney patiently proceeded to overcome, through Hegelian sublation, Benjamin’s dialectics that oppose painting with technology.’ Het staat er echt.
Nu is David Hockney heus wel een conceptuele kunstenaar, in die zin dat hij nadenkt over de bedoelingen en de betekenis van wat hij maakt. Maar die laten zich ook heel goed begrijpen zonder de filosofieën van Hegel en Benjamin en zonder onnavolgbaar kunstjargon.
Het gaat bij Hockney altijd over de waarneming. Over het plezier van intens kijken naar de wereld om je heen, en dus over levenslust. There’s a fabulous lot to look at, vindt hij. Om te beginnen is daar de ruimte waarin we ons bevinden. Hoe onze blik de ruimte aftast, hoe het perspectief verschuift als we ons verplaatsen. Die ruimtelijke ervaring probeert Hockney op het platte vlak te benaderen. Vandaar zijn samengestelde fotowerken, vandaar zijn belangstelling voor de kubisten (die een onderwerp van meerdere kanten tegelijk wilden laten zien). En vandaar ook het videowerk uit 2011, waarvoor hij een auto met negen high definition-camera’s over een bospad in Yorkshire liet rijden, vier keer precies hetzelfde stukje in winter, lente, zomer en herfst. Negen camera’s zien meer dan één; ze kijken vooruit, maar ook naar links en rechts en omhoog, net als de bewegende mens.
Nog een bron van kijkplezier: licht. Hoe het licht breekt in transparant spul als water of glas, en hoe je zo’n effect in verf kunt stileren. Bliksemschichten op een zwembadbodem. De reflectie van een schemerlamp in een donkere ruit. Tegenlicht en lange schaduwen als het voorjaar je tegemoet komt op een landweg.
Bovendien zijn er de kleuren. Zoek op ‘David Hockney’ in Google Images en je ziet het in één oogopslag. Hockney is een colorist, iemand die de gekleurdheid van alle dingen viert. Hoe zo’n bos door de seizoenen heen van kleur verschiet: je weet het natuurlijk wel, maar je staat er toch weer van te kijken als je het – knisperend scherp – op vier keer negen beeldschermen om je heen ziet. Dat is wat Hockney al zestig jaar doet: het vanzelfsprekende zo in beeld brengen dat je beseft hoe bijzonder het eigenlijk is. Je vergeet soms gewoon uit je doppen te kijken, niet naar een computer- of smartphonescherm maar naar de mensen, spullen en plekken om je heen. Je verliest ze uit het oog omdat je ongelukkig bent op school of werk, omdat je je zorgen maakt over ontwikkelingen in de politiek, omdat je bang bent voor de dood van jezelf of anderen – en dan is daar de kunst, vooral die van Hockney, die zegt: kijk wat het leven allemaal te bieden heeft zolang het duurt. Kijk ernaar en verheug je erover.
(Verschenen in de NRC van 18 februari)
Piccadilly Circus station has recently been 'adorned' by this new 'artwork' by no less than David Hockney. Its on an electronic display on one landing. The same image is also displayed going up one escalator shaft, but alternating with adverts.
I do recall how Mr Hockney used to work in the old fashioned medium of oil paint. He managed to produce a number of paintings that are definitely recognisible as 'art'. I'm not sure what this is, though at least he apparently wasn't paid for it!
At least one person likes it: www.creativebloq.com/news/hockneys-london-artwork
And the Mayor thinks its 'brilliant' - though possibly he used to say that when his children came home from school with something similar....
Overzichtstentoonstelling van David Hockney, van 9 februari tot en met 29 mei in de Tate Britain (en daarna in Parijs en New York)