During the 1950s there was widespread interest in gay circles in Whitman as gay forbear: see Gavin Butt, Between You and Me, Durham and London, 2005, pp.57–9, and Michael Davidson, Guys Like Us: Citing Masculinity in Cold War Poetics, Chicago 2004, Chapter 4. Yes, I think abstraction will become just a period piece. Do you know that book “ The Power of Images”? So most of what everybody has lived through during the pandemic, for you, was actually Normandy, the discovery of this landscape. You didn’t feel isolated? One occasional determinant was finding equivalents to the scenes chosen by Hogarth to describe the rise and fall of Tom Rakewell. But we might note, too, the absence of all manner of experiences that doubtless came his way, such as visiting tourist and architectural sights like the Empire State Building, which he mentioned as on his list to Kitaj, or travelling on the subway. 64

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A common artistic enthusiasm is suggested by the echoes of Larry Rivers in England’s Glory. Recent pictures by Rivers such as The Last Civil War Veteran prefigure Boshier’s fusion of heraldic flag imagery and painterly mark-making, while many other works provide a model for the inclusion of words, both stencilled and scrawled. 42 The spring of 2020 was marvellous in northern Europe. It was a beautiful spring, and a lot of people noticed it, probably for the first time, because they were in one place. I mean, my friend Celia Birtwell—she’s the one in the “ Mr and Mrs Clark and Percy” painting—told me she never noticed the spring from beginning to end ever in her life before. She’s eighty years old. I don’t feel isolated here, really. I’ve got this studio, I’ve got connections with everybody all over the world. So long as JP is here, I’m O.K. I know human relationships are the most important thing—they are. I mean, I’m an eighty-four-year-old smoker. How much longer do I have? Well, Picasso lived to be ninety-one. I know what keeps me going: it’s work. That’s what keeps most people going, isn’t it? I think the star system is going, isn’t it? I mean, movie stars now, beyond Brad Pitt—what is there? The newspapers, the movies needed stars, and the media needed stars as well. They provide gossip and things. But where are the stars today? On the iPhone, your friends are the stars on the screen. Why do you need another star or another screen out there when you’ve got one in your hand? I mean, we don’t know what all this is doing to us.

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See Pope-Hennessy, Fra Angelico, London 1952, plate 9 (a detail of ‘The Expulsion of Adam and Eve’ from the Cortona Annunciation). He holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes. He has used hearing aids since 1979, but realised he was going deaf long before that. [109] As of 2018, he kept fit by spending half an hour in the swimming pool each morning, [110] and could stand for six hours at the easel. [106] When you think of it, abstraction occurred at the height of photography. Those illustrated photography magazines started in the thirties— Life, Picture Post in England, Illustrated. And they ended when television came. Television took over all these pictures. I mean, Picture Post came out every week—it was all very fast printing, fast photography. But, when Clement Greenberg was saying abstraction is the thing, that’s the time when no one questioned photography, really, did they? Stanton, Larry (1986). Larry Stanton Painting and Drawing. Twelvetrees Press. ISBN 978-0-942642-29-2. [152] Throughout his career, he’s investigated new technologies and explored different ways to make art, beginning with his iPhone in 2007 before adopting the iPad and Stylus in 2010.

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White, Edmund (8 September 2006). "Sunlight, beaches, and boys". The Guardian. London . Retrieved 12 April 2014.Canova, Gianni (1 September 2015). "Luca Guadagnino, Tilda Swinton & Dakota Johnson". Vogue Italia. Archived from the original on 7 November 2017 . Retrieved 14 September 2015. David asked them to retain the pose whilst he painted them in their chosen positions. When each of we siblings saw the picture, we agreed it was honest. His rendition captured their situation wonderfully—their likeness of course, but it was also full of love and empathy. It is a truthful painting even though there is separation; the connection is what is happening in the picture, being themselves! Mum sat waiting for Dad to finish, but he never did, not until he died. How do these paintings compare to the “82 Portraits and 1 Still-life” series that you did in L.A. a number of years ago? For an overview, see Malcolm Bradbury, Dangerous Pilgrimages: Transatlantic Mythologies and the Novel, Harmondsworth 1996, especially Chapter 10. We’d come for that [stained-glass] window in Westminster Abbey, the one I made for the Queen, with all the hawthorn blossoms in it. And I said to JP, “Why don’t we just go to Normandy? It’s easy to get to. We won’t stay in London because there were too many people coming around. We will just go.” And so we came to Honfleur. We got there in about six hours, including the Channel. And we watched a sunset there, with the sun behind, lighting up everything, and it was a fantastic experience to have. That was like Van Gogh—everything was clear, everything was marvellous.

David Hockney’s Pool Paintings Keep Making a Splash | Artsy David Hockney’s Pool Paintings Keep Making a Splash | Artsy

Yes, because everything in it is photographed, but it’s also drawn—I placed every figure in there carefully.

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Hoberman, J. (19 June 2019). "A Clearer Picture of 'A Bigger Splash' ". The New York Times. ISSN 0362-4331 . Retrieved 18 April 2022. We have prioritised access for Friends and supporters but cannot guarantee access if time slots are fully booked. John Loker". Bradford College. 2007. Archived from the original on 27 February 2018 . Retrieved 26 February 2018. See O’Hara, Art Chronicles; and Chapter 3 (‘Poet among Painters’) in Marjorie Perloff, Frank O’Hara: Poet Among Painters, Chicago 1998 edition.

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Chris Stephens, ‘Image in Revolt’, in Paul Gorman (ed.), Derek Boshier: Rethink/Re-entry, London 2015, p.38. I haven’t looked at those much. These are different; I know these are different. The earlier series was always the same chair—at least here there’s a different chair, sometimes. And in the “82” series I did each one in two or three days. And I began those with charcoal drawings. I don’t now. I just start painting. There was also the wonderfully camp and irreverent text ‘How to Proceed in the Arts: A Detailed Study of the Creative Act’, another collaboration between O’Hara and Rivers. 34 You will find that our staff are as people motivated as they are sales motivated, and we will take the time to get to know our clients, their property and their aspirations.

David dives in

I spent part of last week in Cambridge at my old college with my former director of studies, a professor of English. He is quiet and diffident, reclusive but kind, and he made a big impact on us all as snotty-nosed under-graduates. His past, as we knew through the grapevine, was radical. A grammar school boy from Haringey whose mother left school at 14 (as I later found out), he wound up in the avant-garde set around the social theorist Michel Foucault, translated the (to me, incomprehensible) works of Roland Barthes, and wrote theoretically interesting books about sex. Stuffy or showy he was not. Interesting, incredibly erudite and experimental he most certainly was.