View allAll Photos Tagged davidhockney
This was an assignment for my Digital Imaging course. We were tasked to take inspiration from David Hockney's work and create a photo mosaic. Each square you see is taken from a separate image.
The standard method is that a model of the car is given to the artist who then paints his design onto the model and that model is sent to this guy who transfers the design on to the car. W.Maurer I salute you.
For the art recreation assignment for Take a Class with Dave & Dave.
"Assignment 2: I've been dying to try it again, and now is the time for Art Recreation Redux. our old friend from week 8, I said then we should hit this again during the spring, and here we are!"
I can honestly say I tried. I did my very best. I broke a 300W photo bulb. I pulled my ceiling down. I ripped my drywall. I soaked a book. And I nearly broke a vase (say vahhhhz because it cost $100, probably, and was a 40th birthday gift from a very old and dear friend), which scared the piss out of my dog, Cleo, who happened to be on the porch when it fell over, all because a stray gust of wind on the stillest day of the year blew over a concrete slab to which I had taped a white poster board.
I took nearly 100 shots—going back to the makeshift studio four separate times, but I couldn't ever get the white balance right (it was always purple or yellow or peach—blech!), so I had to cut everything out by hand.
I tried it with Herman Hesse and Flaubert (like the original, only not the same book), but it never worked. Now It's Vonnegut, and I'm still not sure.
But I tried very, very, very hard. And this is my final offer.
David Hockney and curators after remarks at the press preview of his retrospective
Metropolitan Museum of Art
New York, New York
November 27, 2017 - February 25, 2018
David Hockney (British, b. 1937)
Photocollage
From his seat at a luncheon held at the British Embassy in Tokyo on Feb. 16, 1983, David Hockney shot dozens of photographs surveying the immediate space and its contents, including the place settings, his dining companions, and even his used rolls of film on the table directly before him. This photocollage made up of 138 individual 35 mm prints recreates the photographer's experience. Hockney was particularly attracted to photocollage in the early 1980s b/c it allowed him to treat photography more like drawing and painting, giving him the ability to modify the perspective and introduce the element of time. He also enjoyed the flexibility to break out of the frame imposed by the camera. In the artist's words, "When [I] began I didn't know where the edge would be, whereas [for] most people looking through a camera it's the edge that defines everything."
David Hockney (b. 1937) - Two men in a shower (1963). In the collection of the Astrup Fearnley Museum, Oslo.
Etching
Hockney visited the major Picasso exhibition in 1960 at the Tate Gallery and the modern Master became a lifelong love. Following Picasso’s death in 1973 Hockney made two etchings in the spirit of Picasso’s Vollard Suite (1930-7). In Artist and Model, Hockney depicts an imaginary meeting between the modern master and himself, as the nude model, using different etching techniques to differentiate between the two; the looser ‘sugar-lift’ method to describe Picasso and a more densely hatched line for himself. Hockney had been taught the sugar-lift, a technique particularly associated with Picasso, that year in Paris by Aldo Crommelynck, the master printer of the modern Master’s later etchings. Self-Portrait, July 1986, reflects the older artist‘s stylistic influence.*
From the exhibition
David Hockney: Drawing from Life
(November 2023 - January 2024)
David Hockney (b.1937) is regarded as one of the master draughtsmen of our times. He widely champions drawing, which is at the heart of his studio activity and has underpinned his work throughout his life. From the early pen and ink and coloured pencil drawings, to his more recent experiments with watercolour and digital technology, the artist’s inventive visual language has taken many different stylistic turns.
Over the past six decades he has never stood still, or rested on a particular approach, medium or technique, remaining inquisitive, playful and thought provoking while generously sharing his ideas with his audience. His drawing reflects his admiration for both the Old Masters and ‘modern Masters’ from Rembrandt to Picasso.
Drawing from Life explores the artist’s unique vision of the world around him, which is played out in portraits of himself and his intimate circle. A room of new ‘painted drawings’ of visitors to his Normandy studio in 2021-2 offer a glimpse of Hockney’s continuing working life.
All works in the exhibition are by David Hockney..
[*National Portrait Gallery]
Taken in National Portrait Gallery
Detail of A Bigger Splash (David Hockney, 1967, acrylic on canvas). From the Metropolitan Museum of Art's show David Hockney (2017-2018). You can see here how most of the paint was rollered on for maximum flatness and uniformity, while the 'splash' was painstakingly brushed in.
Salt's Mill, Saltaire, Yorkshire
The 1853 Gallery - named after the year that the mill opened - is unique. It displays a large number of David Hockney's paintings, etchings, and drawings. Art materials and art books are for sale too, dotted around this vast and inspiring space. Like all of the Mill it's free to enter.
Canon A1 with Canon FD f1.2, Polypan F in Caffenol CM-RS for 11min. 20C
Some folks enjoying a documentary about the life and work of David Hockney.
This negatives came really thin from the developing, I used the recipe for Caffenol CM-RS that one of my contacts sent me instead of the Caffenol C that I used the previous time.
I wonder if using the less scientific method of measuring the ingredients with a teaspoon might have something to do with it (maybe my teaspoon is smaller) or maybe I made a mistake somewhere in the process. Anyway I had to tweak the levels a lot.
Done by taking individual photos of each section of the comic book, then collaging them together. Similar to the way David Hockney constructs his images.
Production from Los Angeles Opera, part of the set is stored outdoors in San Francisco while two other productions take place on the main stage.