View allAll Photos Tagged davidhockney
“BMW gave me the model of the car and I kept looking at it and looking at it, and then, I must admit, I also looked at the other Art Cars. In the end I thought, probably it would be good to perhaps show the car so you could be looking inside it.”
E31
BMW Art Car #14
The process leading up to the final work lasted several months, as Hockney not only concerned himself with the external surfaces of the car. He persisted in his idea, and endowed his work with an unusual transparency by allowing the inside of the car to be outwardly visible. Stylized intake manifolds of the engine appear on the bonnet, the driver is visible through the door – and, of course, a dachshund, too.
In his opinion, “Driving and design go hand in hand in a way. Traveling around in a car means experiencing landscapes – which is one of the reasons why I chose green as a color.”
There can be no doubt of Hockney’s love of cars. He enjoys driving immensely, especially when it takes him through the hilly countryside along the winding roads of California, his chosen home.
He is extremely fond of listing to classical music on the road. Clearly a person who understands how to live and enjoy life. His sensitive and equally distinctive perception of the experience of driving has led to a powerful interpretation of that experience.
Hockney’s personal resume on his work for BMW is unusually short, and yet it says all we need to know:
“It was lots of fun.”
“The car has wonderful contours and I followed them,” says David Hockney of the BMW 850CSi he designed. He admits to having playfully “destroyed” the outer surfaces of the car, whilst at the same time he respected its overall design.
BMW Art Cars
20 Artists
50 Years of Innovation
Zoute Grand Prix Car Week 2025
Approach Golf
Knokke - Zoute
België - Belgium
October 2025
'Little Boodge' (detail) 1993
Offset lithograph
28.0 x 42.0 cm
Unsigned.
Minor yellowing towards the edges of the sheet, due to the age of the piece.
Charcoal on paper
Self-portraits from the 1980s to the Millennium
In the autumn of 1983, almost every day for two months, Hockney challenged himself to produce a self-portrait in charcoal. This period of intense self-reflection was, in part, a reaction to the untimely deaths of many of his friends due to the HIV/AIDS epidemic. The honesty and vulnerability exposed in these drawings is a far cry from the confident self-portraits of thirty years earlier. Like the pages of a diary, these works record the daily changes in the artist’s moods and emotions.
In 1999, alongside his camera lucida drawings he made a series of self-portraits, for which he could not use this optical tool. These playful and vulnerable drawings in which he displays different facial expressions, were influenced by Rembrandt’s self-portrait etchings. In others, he adopted the classical side profile and half-length pose found in self-portraiture throughout art history.
In 2002 Hockney turned to watercolour, a medium he hadn’t explored since the 1960s. This new way of working freed up his approach; allowing him to draw quickly and directly onto paper. Hockney described the watercolour series as ‘portraits for the new millennium’, convinced that, despite his experimentation with the camera lucida, the human eye, the hand and the heart were the best tools for capturing the individuality of his sitters.*
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
From the show
David Hockney: Bigger & Closer (not smaller & further away)
(February - December 2023)
Using large-scale projection in a remarkable new space, David Hockney takes us on a personal journey through sixty years of his art.
Lightroom’s vast walls and revolutionary sound system enable us to experience the world through Hockney’s eyes.
His life-long fascination with the possibilities of new media is given vibrant expression in a show that invites us to look more closely, more truly and more joyously.
In a cycle of six themed chapters, with a specially composed score by Nico Muhly and a commentary by the artist himself, Hockney reveals his process to us. His voice is in our ears as we watch him experimenting with perspective, using photography as a way of ‘drawing with a camera’, capturing the passing of time in his polaroid collages and the joy of spring on his iPad, and showing us why only paint can properly convey the hugeness of the Grand Canyon. We join him on his audio-visual Wagner Drive, roaring up into the San Gabriel Mountains, and into the opera house by means of animated re-creations of his stage designs.
From LA to Yorkshire, and up to the present day in Normandy, the show is an unprecedented opportunity to spend time in the presence of one of the great popular geniuses of the art world still innovating, still creating beauty and awe.
“The world is very very beautiful if you look at it, but most people don’t look very much. They scan the ground in front of them so they can walk, they don’t really look at things incredibly well, with an intensity. I do.”
[*Lightroom.uk]
Taken in the Lightroom
Stephen Richardson (Father Trulove), Nardus Williams (Anne Trulove) and Frederick Jones (Tom Rakewell)
Taken with a Cannon Rebel EOS XS. Used about 18 images to create, every single image is a different picture. Manually put together using Photoshop. Inspired by David Hockney.
I took Kitty to PetSmart this morning to get her nails trimmed. Afterward I came home and Darek dropped me off at Bob & Max's on his way to work. Bob, Max & I had lunch at The Chicken Ranch before heading to the Palm Springs Art Museum to see the David Hockney exhibit. I was a fun day.
I took Kitty to PetSmart this morning to get her nails trimmed. Afterward I came home and Darek dropped me off at Bob & Max's on his way to work. Bob, Max & I had lunch at The Chicken Ranch before heading to the Palm Springs Art Museum to see the David Hockney exhibit. I was a fun day.
This was inspired by David Hockney and his photo collages. Each one took around and hour to put together as its like a puzzle but harder, you have to choose which images you want and where they go on the canvas. It trickier the more images you have.
I took Kitty to PetSmart this morning to get her nails trimmed. Afterward I came home and Darek dropped me off at Bob & Max's on his way to work. Bob, Max & I had lunch at The Chicken Ranch before heading to the Palm Springs Art Museum to see the David Hockney exhibit. I was a fun day.
Acryl op doek
David Hockney zei ooit: 'Anything simple always interests me. De afwezigheid van mensen in dit straat- beeld zorgt voor een sfeer van verstilling. Toch verwijzen de twee ligstoelen die los tegen de muur zijn gezet naar een gebeurtenis buiten ons blikveld. Ondanks het eenvoudige tafereel is het een verhalend schilderij.
'Boijmans van Beuningen at Rijksmuseum'
For the Luna Luna art amusement park in 1987, British pop artist David Hockney designed the Enchanted Tree, an immersive installation featured a cylindrical chamber of panels painted with geometric interpretations of blue, red, and green trees. . Visitors entered through rounded arches to find another inner cylinder with a lattice of branch-like shapes, creating a magical, layered experience enhanced by classical music from Johann and Joseph Strauss. Hockney’s design reflects his signature use of bright colors and geometric forms, reminiscent of his 1981 stage designs for the Stravinsky Triple Bill at the Metropolitan Opera.
“Luna Luna: Forgotten Fantasy”,on exhibit at The Shed from November 20, 2024 through January 5, 2025, revived the world’s first art amusement park, originally created in 1987 by artist André Heller in Hamburg, Germany. After being stored in Texas for over three decades, the exhibition resurrected thirteen of the original thirty attractions, including works by Jean-Michel Basquiat, Keith Haring, Salvador Dalí, David Hockney, and Roy Lichtensten, in Los Angeles in December 2023.