David Hockney @ Fondation Louis Vuitton, Paris - Une exposition majeure avec plus de 400 oeuvres de 1955 à 2025

David Hockney, 25

Fondation Louis Vuitton, Paris

9 avril - 31 août 2025

David Hockney

"Winter Timber" 2009

Oil on 15 canvases (36 x 48" each)

274.32 x 609.6 cm (108 x 240 Inches)

© David Hockney

Photo Credit: Jonathan Wilkinson

La Fondation Louis Vuitton invite DAVID HOCKNEY, l’un des artistes les plus influents des XXe et XXIe siècles, à investir l’ensemble de ses espaces d’exposition. Cette présentation, inédite par son contenu comme par son ampleur, de plus de 400 œuvres de 1955 à 2025 rassemble, outre un fonds majeur provenant de l’atelier de l’artiste et de sa fondation, des prêts de collections internationales, institutionnelles ou privées. L’exposition réunit des créations réalisées avec les techniques les plus variées – des peintures à l’huile ou à l’acrylique, des dessins à l’encre, au crayon et au fusain, mais aussi des œuvres numériques (dessins photographiques, à l’ordinateur, sur iPhone et sur iPad) et des installations vidéo.

David Hockney s’est totalement impliqué dans la réalisation de cette exposition. Il a lui-même choisi, en collaboration avec son compagnon et studio manager, Jean-Pierre Gonçalves de Lima, de centrer l’exposition sur les vingt-cinq dernières années de son œuvre sans omettre les œuvres « mythiques » de ses débuts, proposant ainsi une immersion dans son univers, couvrant sept décennies de création. Il a voulu suivre personnellement la conception de chaque séquence et de chaque salle, dans un dialogue continu avec son assistant Jonathan Wilkinson. 

David Hockney déclare : « Cette exposition est particulièrement importante pour moi, car c’est la plus grande que j’aie jamais eue – les onze galeries de la Fondation Louis Vuitton ! Quelques-unes de mes toutes dernières peintures, auxquelles je suis en train de travailler, y seront présentées. Ça va être bien, je crois. »[ 1]

L’exposition « David Hockney, 25 » montre combien ces dernières années témoignent du renouvellement permanent de ses sujets et de ses modes d’expression. La capacité de l’artiste à toujours se réinventer à travers des nouveaux media est en effet exceptionnelle. D’abord dessinateur, passé maître dans toutes les techniques académiques, il est aujourd’hui un des champions des nouvelles technologies.

David Hockney

"Portrait of My Father" 1955

Oil on canvas

50.8 x 40.6 cm (20 x 16 Inches)

© David Hockney

Photo Credit: Richard Schmidt

The David Hockney Foundation

David Hockney

"A Bigger Splash" 1967

Acrylic on canvas

242.5 x 243.9 x 3 cm (96 x 96 x 1.181 Inches)

© David Hockney

Tate, U.K.

David Hockney

"Portrait of an Artist (Pool with Two Figures)" 1972

Acrylic on canvas

213.36 x 304.8 cm (84 x 120 Inches)

© David Hockney

Photo Credit: Art Gallery of New South Wales / Jenni Carter

David Hockney

"Christopher Isherwood and Don Bachardy" 1968

Acrylic on canvas

212.09 x 303.53 cm (83.5 x 119.5 Inches)

© David Hockney

Photo Credit: Fabrice Gibert

Sont réunies au rez-de-bassin des œuvres emblématiques des années 1950 aux années 1970 – depuis ses débuts à Bradford (Portrait of My Father, 1955), puis à Londres, jusqu’en Californie. La piscine, thème emblématique, apparaît avec A Bigger Splash, 1967 et Portrait of An Artist (Pool with Two Figures), 1972. Sa série de doubles portraits est représentée par deux peintures majeures : Mr. and Mrs. Clark and Percy, 1970-1971 et Christopher Isherwood and Don Bachardy, 1968.

Puis la nature prend une place toujours plus importante dans le travail de David Hockney à partir de la décennie 1980-1990 – comme en témoigne A Bigger Grand Canyon, 1998 – avant que l’artiste ne regagne l’Europe pour y poursuivre l’exploration de paysages familiers.

David Hockney

"May Blossom on the Roman Road" 2009

Oil on 8 canvases (36 x 48" each)

182.88 x 487.7 x 0 cm (72 x 192 x 0 Inches)

© David Hockney

Photo Credit: Richard Schmidt

David Hockney

"Bigger Trees near Warter or/ou Peinture sur 

le Motif pour le Nouvel Age Post-Photographique" 2007

Oil on 50 canvases (36 x 48" each)

457.2 x 1219.2 cm (180 x 480 Inches)

© David Hockney

Photo Credit: Prudence Cuming Associates

Tate, U.K.

Ensuite le cœur de l’exposition renvoie aux 25 dernières années, passées principalement dans le Yorkshire où il redécouvre les paysages de l’enfance, ainsi qu’en Normandie et à Londres. On y assiste à une célébration du Yorkshire, l’artiste faisant d’un buisson d’aubépine une explosion spectaculaire du printemps (May Blossom on the Roman Road, 2009). L’observation du rythme des saisons le mène au paysage hivernal monumental peint sur le motif, exceptionnellement prêté par la Tate de Londres, Bigger Trees near Warter or/ou Peinture sur le Motif pour le Nouvel Âge Post-Photographique, 2007.

David Hockney

27th March 2020, No. 1

iPad painting printed on paper, mounted on 5 panels

Exhibition Proof 2

364.09 x 521.4 cm (143.343 x 205.276 Inches)

© David Hockney

Dans le même temps, David Hockney poursuit le portrait de ses proches, à l’acrylique ou sur iPad, ponctué de plusieurs autoportraits. L’exposition en compte une soixantaine en galerie 4, associés à des « portraits de fleurs » réalisés à l’iPad mais insérés dans des cadres traditionnels, créant un trouble dont on retrouve l’effet dans le dispositif qui les réunit au mur, 25th June 2022, Looking at the Flowers (Framed), 2022.

Tout le 1er étage – galeries 5 à 7 - est consacré à la Normandie et à ses paysages. La série 220 for 2020, exécutée uniquement sur iPad, est présentée dans une installation inédite en galerie 5. David Hockney y capte, jour après jour, saison après saison, les variations de la lumière. En galerie 6, faisant suite à cet ensemble, on notera une série de peintures acryliques et le traitement très singulier du ciel animé de touches vibrantes, lointaine évocation de Van Gogh. En galerie 7, un panorama composé de vingt-quatre dessins à l’encre (La Grande Cour, 2019) fait écho à la Tapisserie de Bayeux.

Enfin, le dernier étage est introduit par une série de reproductions remontant au Quattrocento constituant des références importantes pour l’artiste (The Great Wall, 2000). La peinture de David Hockney, qui se nourrit de l’histoire universelle de l’art depuis l’Antiquité, est centrée ici sur la peinture européenne, de la première Renaissance et des peintres flamands jusqu’à l’art moderne. La première partie de la galerie 9 témoigne de ce dialogue avec Fra Angelico, Claude le Lorrain, Cézanne, Van Gogh, Picasso... Puis, le public est invité à traverser l’espace de cette galerie-atelier transformée en salle de danse et de musique, comme David Hockney le fait régulièrement, accueillant chez lui musiciens et danseurs.

Passionné par l’opéra, David Hockney a souhaité réinterpréter ses réalisations pour la scène depuis les années 1970 dans une création polyphonique à la fois musicale et visuelle, en collaboration avec 59 Studio, enveloppant le visiteur dans la salle la plus monumentale de la Fondation Louis Vuitton (galerie 10).

David Hockney

"After Munch: Less is Known that People Think" 2023

Acrylic on canvas

48 x 72"

© David Hockney

Photo Credit: Jonathan Wilkinson

David Hockney

"After Blake: Less is Known that People Think" 2024

Acrylic on canvas

72 x 48"

© David Hockney

Photo Credit: Jonathan Wilkinson

L’exposition se clôt par une salle intimiste où seront révélées les œuvres les plus récentes peintes à Londres, où l’artiste réside depuis juillet 2023 (galerie 11). Celles-ci, particulièrement énigmatiques, s’inspirent d’Edvard Munch et de William Blake : After Munch: Less is Known than People Think, 2023, et After Blake: Less is Known than People Think, 2024, où l’astronomie, l’histoire et la géographie rencontrent une forme de spiritualité, selon les propres mots de l’artiste. Il a souhaité y inclure son tout dernier autoportrait.

[1] “This exhibition means an enormous amount because it is the largest exhibition I’ve ever had – 11 rooms in the Fondation Louis Vuitton. Some of the most recent paintings I’m working on now will be included in it, and I think it’s going to be very good.” -- David Hockney

Commissariat de l'exposition :

Suzanne Pagé, directrice artistique de la Fondation Louis Vuitton et commissaire générale

Sir Norman Rosenthal, commissaire invité

François Michaud, conservateur à la Fondation Louis Vuitton, commissaire associé

Assisté par Magdalena Gemra

Avec la collaboration de Jean-Pierre Gonçalves de Lima et de Jonathan Wilkinson, pour le studio David Hockney

Publication

DAVID HOCKNEY

Édité par Norman Rosenthal

Contributions de Suzanne Pagé, Norman Rosenthal, James Cahill, Magdalena Gemra, Anne Lyles, François Michaud, Simon Schama, Donatien Grau, Eric Darragon, Théo de Luca, Fiona Maddocks et Philippe-Alain Michaud. Publié par Thames & Hudson et la Fondation Louis Vuitton. Relié, 25,9 x 30,5 cm, 328 pages, 484 illustrations, ISBN: 9780500030325

FONDATION LOUIS VUITTON

8, avenue du Mahatma Gandhi,

Bois de Boulogne, 75116 Paris

www.fondationlouisvuitton.fr

David Hockney @ Pace Gallery, East Hampton - Ma Normandie

David Hockney: Ma Normandie 

Pace Gallery, East Hampton 

May 27 – June 6, 2021

DAVID HOCKNEY

Ruby Dreaming, 2019 

© 2021 David Hockney, courtesy Pace Gallery

Pace presents a solo exhibition of work by DAVID HOCKNEY as its second show of the 2021 season in East Hampton. The 14 prints on display illustrate the artist’s home in Normandy and its surroundings as well as the interior of the artist’s studio. Exploring the artist’s recurring theme of the natural narrative of the changing seasons, this body of work is full of the vibrancy that has come to define much of David Hockney’s art. These works celebrate creativity and invite viewers to see the power of nature as the world outside continues to blossom and spring gives away to the summer.

On a visit to Normandy in the fall of 2018, the artist fell in love with its pastoral landscape, and in March 2019, he moved to a rural area in the region. As he immersed himself in his new house, a 17th-century half-timber cottage on 12 acres of verdant land, David Hockney committed to documenting the arrival of spring around him—the same subject that had occupied him in 2011 when he famously depicted the advent of spring in East Yorkshire. The resulting images show the Norman countryside waking up to a new season. Images like Study of “The Entrance” (2019) not only show the rich greens and blues of spring but also the joy inherent to that season. On view more broadly are the thoughtful and exploratory ways in which David Hockney engages with his surroundings. Whether walking viewers around his house, which he has captured from each cardinal direction, or imagining the inner workings of his dog’s mind, as in Ruby Dreaming (2019), each work is imbued with the pleasure of its own creation and celebrates with delicate, assured marks the beauty of everyday life.

Included in the show are three new iPad drawings printed on paper. These works capture the inside of David Hockney’s home; one, depicting a hearth with a crackling fire, was featured on the cover of the New Yorker in December 2020 accompanied by an interview with the artist. Hockney has been drawing regularly using the iPad since the device was introduced in 2010, having previously used the iPhone in a similar manner. Throughout his career, he has experimented with a wide variety of then-new technologies, including Polaroid cameras, fax machines, and video.

Concurrent with this exhibition, the artist’s new 2½ minute animated work, titled Remember you cannot look at the sun or death for very long, was broadcast on electronic billboards in Times Square in New York and prominent locations in London, Los Angeles, Tokyo, and Seoul during the month of May. In New York, Times Square Arts feature the work as part of its Midnight Moment series, playing it on 76 synchronized screens throughout Times Square nightly from 11:57pm to midnight. The work depicts a sunrise, offering a powerful symbol of hope and collaboration, in keeping with themes explored in the artist’s exhibition at Pace in East Hampton.

Several museum exhibitions of the artist’s work in the United States and United Kingdom also coincide with the East Hampton presentation. At New York City’s Morgan Library, a show of Hockney’s portraits on paper, which opened in October, will run through May 30, 2021. An astute pairing of the joyful landscapes of Hockney and Vincent van Gogh is on view at the Museum of Fine Arts Houston through June 20, 2021. Finally, an exhibition of 116 of Hockney’s iPad drawings of spring in Normandy opened at the Royal Academy in London on May 23, 2021.

DAVID HOCKNEY (b. 1937, Bradford, United Kingdom), one of the most influential artists of the late 20th and 21st century, has consistently explored the potential of perspective and pictorial space in his work. As a student, David Hockney studied traditions of British landscape painting. He broke from the then-reigning interest in abstract painting to pursue his own style, developing a brightly colored palette that burst forth in his paintings from the 1960s and 1970s in Los Angeles and continued into a distinctive, studied, and original approach to the problems and conventions of painting. Hockney works in a variety of media, including printmaking, painting, stage design, and photographic collage.

PACE GALLERY

68 Park Place, East Hampton, NY 11937 

www.pacegallery.com

David Hockney @ Galerie Lelong & Co., Paris - Ma Normandie

David Hockney : Ma Normandie

Galerie Lelong & Co., Paris

Jusqu'au 27 février 2021

DAVID HOCKNEY

David & Ruby in the Normandy Studio, May 25th 2020 

© David Hockney 

Photo: Jean-Pierre Gonçalves de Lima

L'exposition "Ma Normandie" présente dans les trois espaces de la Galerie Lelong & Co. à Paris un ensemble d'une dizaine de nouvelles peintures ainsi qu'une série d'oeuvres sur papier que DAVID HOCKNEY a exécuté depuis son installation en Normandie en mars 2019. "Ma Normandie" est la 6ème exposition de David Hockney à la Galerie Lelong & Co. depuis 2001.

En octobre 2018, David Hockney séjourne quelques jours à Honfleur. De là, il se rend à Bayeux pour revoir la tapisserie de la Reine Mathilde. Il est alors fasciné par l’efficacité graphique et narrative de cette oeuvre du XIe siècle qui lui rappelle les anciens rouleaux chinois.

Faire sentir en peinture le passage du temps a toujours été l’une des préoccupations majeures du peintre anglais, fin lecteur de Marcel Proust. L’idée germe alors en lui de renouveler avec le paysage normand ce qu’il fit dans son Yorkshire natal dix ans plus tôt : peindre l’arrivée du printemps dans son déroulement, comme un récit.

Il cherche et trouve une maison dans la campagne normande, y fait aménager un atelier dans une grange attenante, et se met au travail dès le mois de mars 2019. La peinture de David Hockney est une sorte d’autobiographie en images : il peint ses proches et les lieux où il vit. Il commence donc par un long panorama qui représente ce qu’il voit autour de la maison, à 360°. Le souvenir de la tapisserie de Bayeux est patent. Puis viennent quelques vues de la maison, une architecture traditionnelle à colombages du XVIIe siècle. Il note que les Impressionnistes, à l’affût de la modernité, ont dédaigné ces maisons typiques de la région. David Hockney y voit par contre un écho des chaumières du paysage hollandais que représentèrent Rembrandt et le jeune Van Gogh, les deux grands maîtres qu'il aime à regarder en ce moment.

L’été venu, il commence une série de peintures à l’acrylique : une vue du village de Beuvron-en-Auge, les pommiers et poiriers du jardin, les arbres dans la brume du matin... Il capte cette lumière changeante, la vibration du ciel...

L'exposition est accompagnée d'un catalogue de 108 pages avec des textes de Jean Frémon, Donatien Grau et David Hockney.

GALERIE LELONG & CO.

13 rue de Téhéran & 38 avenue Matignon, 75008 Paris

www.galerie-lelong.com

Pace Gallery's Inaugural Exhibitions at New Chelsea Gallery, NYC

Pace Announces Inaugural Exhibition
Program for New Flagship Chelsea Gallery Opening September 2019

PACE GALLERY'S NEW CHELSEA BUILDING

Architectural rendering of the southeast façade 

of 540 West 25th Street, New York

Courtesy of Bonetti / Kozerksi Architecture

Pace Gallery announces its inaugural season of programming for its new flagship gallery in New York City, located at 540 West 25th Street. After almost six decades of history in Manhattan, Pace will cement its commitment to Chelsea with a new global headquarters in the heart of the neighborhood. Open to the public on September 14, 2019, Pace will present a series of exhibitions throughout the new building, including: an exhibition dedicated to twentieth century master Alexander Calder occupying the first floor gallery; a show of new paintings by celebrated New York-based artist Loie Hollowell on the second floor; an installation of new work by David Hockney on the third floor; and a presentation charting the evolution of Fred Wilson’s chandelier sculptures installed on the seventh floor. The inaugural exhibition represents several firsts, including Loie Hollowell’s premiere exhibition with Pace in New York. Additional details on each exhibition, accompanying publications, and related programming will be announced over the course of the summer.

“For nearly six decades, Pace has celebrated and advanced the work of creative pioneers,” said Marc Glimcher, Pace Gallery President and CEO. “They are our inspiration, mission, and the source of our vision. Pace has designed and crafted every element of our new global headquarters to provide a vehicle for artists to tell their stories as richly as they deserve to be told and as dynamically as our communities deserve to experience them. It is an honor to inaugurate this gallery with the work of artists who have been so instrumental in creating the fabric of our program; representing both our vibrant history and our exciting future.”

Pace’s new global headquarters is being developed by Weinberg Properties and designed by Bonetti / Kozerski Architecture, in close collaboration with Marc Glimcher. Spanning eight stories and measuring approximately 75,000 square feet, Pace’s new building more than doubles its current exhibition space in New York and features five distinct galleries, including both indoor and outdoor spaces. Each gallery allows for a broad range of installation styles and artistic media, with features such as an entirely column-free design, high loading capacities, and flexible lighting plans creating extraordinarily nimble galleries that can support a diverse approach to exhibition programming.

Inaugural Exhibitions

First Floor:

Alexander Calder

In close collaboration with the Calder Foundation, New York, Pace will inaugurate the 3,600-square-foot first-floor gallery with a focused exhibition dedicated to Alexander Calder. The exhibition will examine the breadth of the artist’s practice beginning in the mid-1920s and leading up to his creation in 1931 of the mobile—an unprecedented form of kinetic sculpture that created a true rupture in the trajectory of art. From his gestural Animal Sketchings and massless wire portraits of the 1920s to his abstract oil paintings of 1930 and the swift progression to motorized objects and hanging mobiles, this exhibition will capture the remarkable transition from potential to actual energy in Calder’s work and underscore his relentless pursuit of the vitality and life force in art.

Second Floor:

Loie Hollowell

The artist’s premiere exhibition with Pace in New York will take place in the new building’s second floor gallery. The exhibition will showcase a series of new large-scale paintings that continue Loie Hollowell’s investigation of bodily landscapes and sacred iconography through allusions to the human form. Drawing inspiration from artists like Agnes Pelton, Georgie O’Keefe, and Judy Chicago, Hollowell’s works abstract the most intimate parts of the human body into primal shapes, such as the mandora and the lingam, in an examination of sexuality, conception, birth, and motherhood. In each work, the artist utilizes color and dimensionality—at times manipulating the canvas with three-dimensional forms—to amplify the phenomenological presence of her corporeal compositions.

Third Floor:

David Hockney

The third-floor gallery will be dedicated to an exhibition of new work by David Hockney. This exhibition will present a 24-panel panoramic drawing and four additional individual drawings. Capturing the arrival of spring in Normandy, these works emphasize Hockney’s ability to unite multiple spatial and temporal experiences of a place into a single image. Influenced by such disparate sources as traditional Chinese scroll painting, contemporary time-based art, and the medieval Bayeux Tapestry, produced in England and housed nearby in Normandy, these new works showcase Hockney’s continued experimentation with the representation of space.

Sixth Floor:

Alexander Calder, Joel Shapiro, and Tony Smith

Offering panoramic views of the Manhattan skyline, the entire sixth floor is devoted to a 4,800 square-foot outdoor exhibition space that can accommodate large-scale sculptural installations. Partially covered by the seventh floor, the design of this space creates the sense of an outdoor room. Exhibitions on the sixth floor will rotate two to three times per year, and for the inaugural installation, Pace will present three monumental outdoor sculptures by three generations of sculptors: Alexander Calder, Joel Shapiro, and Tony Smith. 

Seventh Floor:

Fred Wilson

The seventh-floor exhibition will showcase the evolution of Fred Wilson’s celebrated chandelier sculptures, which the artist began in 2003 when he represented the United States at the 50th Venice Biennale with Speak of Me as I Am. Since then, Wilson’s Murano glass chandeliers, with their evolving shifts in scale, materials, and complexity, have become vehicles for the artist’s meditations on blackness, death, and beauty. Installed hanging from the gallery’s 19-foot-high ceilings, the presentation will include five chandelier sculptures from the artist’s first to his most recent, conceived for the 15th Istanbul Biennial in Fall of 2017.

Looking Ahead to 2019 and 2020

Taking full advantage of the dynamic programming the new building will support, Pace is planning a robust series of exhibitions over the course of 2019 and 2020 and will launch a new interdisciplinary series of live and moving-image programming.

In the late fall of 2019, Pace will present exhibitions dedicated to Mary Corse on the first floor; Chinese painter Li Songsong on the second; and longstanding gallery artist Richard Tuttle on the third. Corse’s exhibition of new paintings will be her first with the gallery in New York since joining Pace in 2018.

Looking ahead to 2020—the 60th anniversary of the gallery—Pace’s new headquarters will host major exhibitions by a diverse range of the gallery’s artists, including debut New York shows for new additions to Pace, such as Lynda Benglis and Arlene Shechet, as well as exhibitions dedicated to pioneers of the twentieth and twenty-first centuries, such as Jean Dubuffet, Isamu Noguchi, and Robert Ryman.

Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the twentieth and twenty-first centuries. Under the leadership of President and CEO Marc Glimcher, Pace is a vital force within the art world and plays a critical role in shaping the history, creation, and engagement with modern and contemporary art. Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy for vibrant and dedicated relationships with renowned artists. As the gallery approaches the start of its seventh decade, Pace’s mission continues to be inspired by our drive to support the world’s most influential and innovative artists and to share their visionary work with people around the world.

Pace advances this mission through its dynamic global program, comprising ambitious exhibitions, artist projects, public installations, institutional collaborations, and curatorial research and writing. Today, Pace has nine locations worldwide: two galleries in New York; one in London; one in Geneva; one in Palo Alto, California; one in Beijing; two in Hong Kong; and one in Seoul. 

PACE GALLERY
www.pacegallery.com

David Hockney @ Paul Kasmin Gallery, NYC

David Hockney: Works on Paper, 1961 - 2009
Paul Kasmin Gallery, New York
Through January 13, 2018

DAVID HOCKNEY

Kas and Jane, 1965

Crayon on paper , 17 x 13 3/4 inches framed.

© David Hockney

DAVID HOCKNEY

Untitled III, 2009

Charcoal on paper, 26 x 40 inches

© David Hockney

Paul Kasmin Gallery presents David Hockney: Works on Paper, 1961 – 2009, the artist’s second exhibition with the gallery on view since November 9 to January 13 at 297 Tenth Avenue.  The exhibition presents a selection of Hockney’s recent East Yorkshire landscapes, as well as intimate portraits and set designs from as early as 1961 during his time as a student at the Royal College of Art.

David Hockney’s interest in landscape and nature’s cycles was ignited in recent years after returning in 1999 to East Yorkshire, England a lush area near his hometown of Bradford. In composing his landscapes, Hockney would continuously return to the same location in order to capture the gradual changes of seasons across a range of media. The exhibition features four charcoal on paper works including Hockney’s Autumn Thixendale, October 19th, 2008, and Fresh Timber on Woldgate, 2008, that emphasize the soft, organic forms of the foliage in play with the seasonal weather, flanked against stark farming patterns of the Yorkshire countryside.

Created at the outset of his career, David Hockney’s drawings from the 1960s and 70s capture the development of what would become his iconic and inventive style, often reflecting on his travels and friends of the moment.  In Kasmin,1973, Hockney uses pencil on paper to depict his art dealer seated in a Parisian studio that once belonged to Balthus.  This work was made at a time when Hockney “was trying to break out of something…of what [he] called ‘obsessive naturalism.”   Executed years later, Peter Langan, 1981, is a compelling example of Hockney’s portraiture, made with the most economical of marks and clever for the innovative approach to scale with respect to the head within the composition.

The exhibition coincides with the major retrospective, David Hockney, at The Metropolitan Museum of Art, New York, which had staged earlier this year at the Tate Britain, London and Centre Georges Pompidou, Paris.

DAVID HOCKNEY (b.  1937, Bradford, England) is a pioneer of the British Pop Art movement and one of the most influential living artists today. The artist is universally recognized for his singular aesthetic developed through a myriad of media, including photographic collages, opera staging, paintings, and drawings using materials ranging from pencil to iPad. Paul Kasmin Gallery presented its first exhibition of David Hockney's work in 2015, which featured a selection of the artist's early drawings. The artist currently lives and works in Los Angeles and East Yorkshire, England.

PAUL KASMIN GALLERY
297 Tenth Avenue, New York, NI 10001
http://paulkasmingallery.com

Exposition Picasso.mania, Grand Palais, Paris

Picasso.mania
Grand Palais, Paris 
7 octobre 2015 - 29 février 2016 

La vingtaine d’expositions (monographiques ou collectives) qui, depuis 1973 se sont attachées à l’étude de la postérité de l’œuvre de Pablo Picasso témoignent de son impact sur la création contemporaine. A la fois chronologique et thématique, le parcours de l’exposition du Grand Palais retrace les moments de la réception critique et artistique de l’œuvre de Picasso, les étapes de la formation du mythe associé à son nom.

Des natures mortes cubistes aux Mousquetaires des expositions d’Avignon de 1970 et 1973, le parcours de l’exposition est ponctué d’œuvres de Picasso, issues des collections du Musée national Picasso-Paris, du Musée National d’art Moderne, ainsi que des collections de la famille de l’artiste. Leur présentation s’inspire des accrochages réalisés par l’artiste dans ses ateliers, et des expositions qu’il a lui-même supervisées (Galerie Georges Petit à Paris en 1932, Palais des Papes à Avignon en 1970 et 1973).

Aux grandes phases stylistiques (cubisme, œuvre tardif...), aux œuvres emblématiques de Pablo Picasso (Les Demoiselles d’Avignon, Guernica) répondent des créations contemporaines présentées dans des salles monographiques (David Hockney, Jasper Johns, Roy Lichtenstein, Martin Kippenberger...) ou thématiques, regroupant des œuvres mêlant techniques et supports les plus variés (vidéos, peintures, sculptures, arts graphiques, films, photographies, installations…).

Les montages Polaroïd, les images vidéos multi-écrans de David Hockney font écho au cubisme de Picasso, à son exploration d’un espace polyfocal. Au début des années 60, les artistes Pop, de part et d’autre de l’Atlantique (Lichtenstein, Errό…) s’emparent des portraits des années 30 par lesquels s’est fixée l’image archétypale de la peinture de Picasso. L’Ombre (1954) est à l’origine de la série de quatre tableaux qu’entreprend Jasper Johns en 1985 (Les Quatre saisons rassemblées, sont présentées dans l’exposition). Témoignant de l’impact de l’image publique de Picasso sur l’imaginaire des artistes du XXe siècle, à deux reprises, en 1988 et en 1995, Martin Kippenberger interprète les portraits photographiques de Picasso et de Jacqueline réalisés par David Douglas Duncan.

Les variations, inspirées par Les Demoiselles d’Avignon et par Guernica, démontrent la place occupée par ces peintures dans l’histoire de l’art moderne et, au-delà, dans l’imaginaire collectif (ces deux œuvres ne sont pas présentées dans l’exposition compte tenu de leur déplacement impossible). Acte de naissance du modernisme pictural, Les Demoiselles d’Avignon ont fait l’objet de variations, (par Faith Ringgold, Robert Colescott…), qui commentent la dimension ethnocentrée, masculine, de cette modernité dont l’œuvre est devenu l’emblème.

D’une lecture historique de Guernica par Emir Kusturica à la révélation du rôle symbolique joué par sa transposition en tapisserie ornant les murs du conseil de sécurité des Nations Unies (Goshka Macuga, The Nature of the Beast, 2009), de l’utilisation du tableau de Picasso dans la lutte des artistes américains opposés à la guerre du Vietnam aux manifestations de rue qui en brandissent l’image, une salle montre comment Guernica s’est muée en icône sociale et politique universelle.

A la faveur d’expositions qui l’ont réinscrit au cœur de la création contemporaine (A New Spirit in Painting, Royal Academy of Arts, 1981) ou qui en ont éclairé le sens (Das Spätwerk. Themen :1964-1972, Bâle, 1981 ; The Last Years, Guggenheim Museum, 1984), les œuvres des dernières années de Pablo Picasso sont redevenues sources d’inspiration. Son éclectisme stylistique, son « cannibalisme » des maîtres anciens, la libre facture des peintures tardives ont inspiré la génération d’artistes révélée au début des années 80 (Georg Baselitz, Jean-Michel Basquiat, George Condo, Julian Schnabel, Vincent Corpet…).

L’installation vidéo de Rineke Dijkstra, I see a Woman Crying (Weeping Woman, 2009-2010) illustre la présence de l’œuvre de Pablo Picasso dans l’imaginaire actuel, dans ses expressions les plus variées, du cinéma aux images numériques, de la vidéo à la bande dessinée.

Cette exposition est organisée par la Réunion des musées nationaux – Grand Palais, le Centre Pompidou et le Musée national Picasso-Paris.

Commissaire général : Didier Ottinger, conservateur général du Patrimoine, directeur adjoint du Musée national d’Art moderne - Centre Pompidou

Commissaires : Diana Widmaier-Picasso, historienne de l’art

Emilie Bouvard, conservatrice du Patrimoine au Musée national Picasso-Paris

Picasso.mania : Les artistes exposés

Adel Abdessemed (1971, Constantine, Algérie)
Leonce Raphael Agbodjelou (1965, Porto-Novo, Bénin)
Pierre Alechinsky (1927, Bruxelles, Belgique)
Arman (1928, Nice, France - 2005, New York, Etats-Unis)
Art Workers Coalition (collectif américain actif de 1969 à 1971)
Enrico Baj (1924, Milan, Italie - 2003, Vergiate, Italie)
Rudolf Baranik (1920, Lithuanie - 1998, El Dorado, Etats-Unis)
Miquel Barceló (1957, Félanitx, Espagne)
Georg Baselitz (1938, Deutschbaselitz, Allemagne)
Jean-Michel Basquiat (1960, Brooklyn, Etats-Unis -1988)
Joseph Beuys (1921, Krefeld, Allemagne - 1986, Düsseldorf, Allemagne)
Mike Bidlo (1953, Chicago, Etats-Unis)
Pol Bury (1922, Haine-Saint-Pierre, Belgique - 2005, Paris, France )
Maurizio Cattelan (1969, Padoue, Italie)
Christo Javacheff (1935, Gabrovo, Bulgarie)
Robert Colescott (1925, Oakland, Etats-Unis - 2009, Tucson, Etats-Unis)
George Condo (1957, Concord, Etats-Unis)
Vincent Corpet (1958, Paris, France)
Equipo Crónica (collectif espagnol actif de 1964 à 1981)
Alan Davie (1920, Grangemouth - Royaume-Uni-2014)
Walter De Maria (1934, Albany, Etats-Unis - 2013, New York, Etats-Unis)
Niki De Saint Phalle (1930, Neuilly-sur-Seine, France - 2002, San Diego, Etats-Unis)
Rineke Dijkstra (1959, Sittard, Pays-Bas)
Erró (Gudmundur Gudmundsson) (1932, Olafsvik, Islande)
Öyvind Fahlström (1928, São Paulo, Brésil -1976, Stockholm, Suède)
Zeng Fanzhi (1964, Wuhan, Chine)
Dan Flavin (1933, New York, Etats-Unis - 1996, New York, Etats-Unis)
Jean-Luc Godard (1930, Paris, France)
Leon Golub (1922, Chicago, Etas-Unis - 2004, New-York, Etats Unis)
Renato Guttuso (1911, Bagheria, Italie - 1987, Rome, Italie)
Richard Hamilton (1922, Pimlico, Royaume - Uni-2011, Londres, Royaume-Uni)
Romuald Hazoumé (1962, Porto-Novo, République du Bénin)
David Hockney (1937, Bradford, Royaume-Uni)
Thomas Houseago (1972, Leeds, Royaume-Uni)
Jean-Olivier Hucleux (1923, Chauny, France - 2012, Paris, France)
Robert Indiana (1928, New Castle, Etats-Unis)
Jasper Johns (1930, Augusta, Etats-Unis)
Donald Judd (1928, Excelsior Springs, Etats-Unis - 1994, New York, Etats-Unis)
Martin Kippenberger (1953, Dortmund, Allemagne - 1997, Vienne, Autriche)
Ronald B. Kitaj (1932, Chagrin Falls, Etats-Unis - 2007, Los Angeles, Etats-Unis)
Jeff Koons (1955, York, Etats-Unis)
Emir Kusturica (1954, Sarajevo, Yougoslavie)
Wifredo Lam (1902, Sagua La Grande, Cuba - 1982, Paris, France)
Bertrand Lavier (1949, Châtillon-sur-Seine, France)
Roy Lichtenstein (1923, New York, Etats Unis - 1997, New York, Etats Unis)
Goshka Macuga (1976, Varsovie, Pologne)
André Masson (1896, Balagny-sur-Thérain, France - 1987, Paris, France)
Paul Mc Carthy (1945, Salt Lake City, Etats-Unis)
Joan Miró (1893, Barcelone, Espagne - 1983, Palma de Majorque, Espagne)
Malcolm Morley (1931, Londres, Royaume-Uni)
Robert Motherwell (1915, Aberdeen, Etats-Unis-1991, Provincetown, Etats-Unis)
Wangechi Mutu (1972, Nairobi, Kenya)
Louise Nevelson (1899, Perislav, Ukraine -1988, New York, Etats-Unis)
Claes Oldenburg (1929, Stockholm, Suède)
Eduardo Paolo (1924, Leith, Royaume-Uni - 2005, Londres, Royaume-Uni)
Richard Pettibone (1938, Los Angeles, Etats-Unis)
Pablo Picasso (1881, Malaga, Espagne - 1973, Mougins, France)
Edouard Pignon (1905, Bully-les-Mines, France - 1993, La Couture-Boussey, France)
Sigmar Polke (1941, Oels, Pologne - 2010, Cologne, Allemagne)
Richard Prince (1949, Panama)
André Raffray (1925, Nonancourt, France - 2010, Paris, France)
Robert Rauschenberg (1925, Port Arthur, Etats-Unis - 2008, Captiva, Etats-Unis)
Faith Ringgold (1930, New-York, Etats-Unis)
Larry Rivers (1923, New York, Etats-Unis - 2002, New York, Etats-Unis)
James Rosenquist (1933, Grand Forks, Etats-Unis)
Chéri Samba (1956, Kinto M’Vuila, Congo)
Antonio Saura (1930, Huesca, Espagne - 1998, Cuenca, Espagne)
Julian Schnabel (1951, New York)
Frank Stella (1936, Malden, Etats-Unis)
Rudolf Stingel (1956, Merano, Italie)
Antoni Tàpies (1923, Barcelone, Espagne - 2012, Barcelone, Espagne)
Hervé Télémaque (1937, Port-au-Prince, Haïti)
Jean Tinguely (1925, Fribourg, Suisse - 1991, Berne, Suisse)
Cy Twombly (1928, Lexington, Etats-Unis - 2011, Rome, Italie)
Francesco Vezzoli (1971, Brescia, Italie)
Andy Warhol (1928, Pittsburgh, Etats Unis - 1987, New York, Etats Unis)
Yan Pei-Ming (1960, Shanghai, Chine)

Picasso.mania : Catalogue de l’exposition

Editions de la Réunion des musées nationaux - Grand Palais, Paris 2015
24,5 x 29 cm, autour de 340 pages, 390 illustrations - 49 €
parution le 14 septembre

Sommaire :
Sollers vers Picasso recueilli par Stéphane Guégan et Didier Ottinger
Les féministes chez Barbe Bleue par Catherine Millet
Salut l’artiste! : œuvres exposées
Les linogravures de Picasso par Céline Chicha-Castex
Picasso et les arts ( cinéma, danse, théâtre et art vidéo) par Diana Widmaier-Picasso
Le Cubisme, un espace polyfocal (dépliant)
David Hockney par Didier Ottinger
Les Demoiselles africaines par Émilie Bouvard
Les Demoiselles (dépliant)
Les Demoiselles d’ailleurs : œuvres exposées
Guernica et la New Left artistique par Émilie Bouvard
Guernica (dépliant)
Guernica, icône politique : œuvres exposées
Picasso goes pop par Annabelle Ténèze
C’est du Picasso (dépliant)
Picasso Pop : œuvres exposées
Rineke Dijkstra par Émilia Philippot
Applaudimètre étalon par Didier Semin
L’atelier du minotaure (dépliant)
Jasper Johns par Joachim Pissarro
Et l’étoile se mit à filer… par Stéphane Guégan
Star system : œuvres exposées
Martin Kippenberger par Didier Ottinger
Picasso : un héritage embarrassant par Didier Ottinger
Un jeune peintre en Avignon (dépliant)
La sculpture de Picasso et après… par Diana Widmaier-Picasso
Un accueil mondial par Michael C. FitzGerald
Bad painting : œuvres exposées
Annexes
Réception artistique et critique 1960-2015 par Camille Chenais
Bibliographie
Liste des œuvres exposées
Index

Autres publications (sélection)

• L’album de l’exposition
par Didier Ottinger
éditions de la Réunion des musées nationaux - Grand Palais, Paris 2015
10 €, 21 x 26,5 cm, Broché, 48 pages, 40 illustrations
parution le 14 septembre

L’album, tout en suivant le parcours de l’exposition, confronte des oeuvres de Picasso et celles des artistes qu’il a inspirés : Picasso - Hockney, Picasso - Johns, Picasso - Kippenberger, Picasso - Rineke Dijkstra et surtout une confrontation Picasso - Duchamp dont l’oeuvre « résonne dans l’esprit, met en question les processus de jugements de l’esprit lui-même (...) un art critique qui explore les mythes de la culture, face à l’oeuvre de Picasso, fait «d’exubérance et d’émotion directe», qui vise « un maximum d’émotion et de plénitude visuelle » ( R. Morris, « American Quarter », Art in America, New York, 1981).

• Picasso, 25 chefs-d’oeuvre expliqués aux enfants

par Elisabeth de Lambilly, auteur à la Rmn-GP de A comme Abécédaire de l’art et de A comme

Abécédaire des animaux... et de nombreux autres titres aux Editions Palette notamment.
Editions de la Réunion des musées nationaux - Grand Palais, Paris 2015
13,50 €, 18 x 22 cm, Relié, 64 pages, 25 illustrations
parution le 7 octobre

Cette nouvelle collection, les Incontournables de l’Art, propose d’entrer dans l’univers d’un peintre à partir d’un choix de 25 œuvres emblématiques d’un artiste, d’une manière très didactique et ludique. Guidé par des textes courts et très descriptifs le jeune lecteur «entre» véritablement dans le processus de création de l’artiste. Destiné aux lecteurs de 9 ans et plus, ce titre permet aux enfants d’aborder l’univers et de s’approprier l’œuvre du peintre. Il constitue ainsi une superbe et ludique introduction au monde de Picasso.

Grand Palais, Paris
Galeries nationales
Entrée square Jean Perrin
Informations et réservations : www.grandpalais.fr

Robert Mapplethorpe curated by David Hockney

ROBERT MAPPLETHORPE CURATED BY DAVID HOCKNEY
Alison Jacques Gallery, London
January 14 - March 12, 2005

“I made a drawing of Robert and he gave me a Polaroid photograph of a male nude”.
David Hockney in conversation with Charlie Scheips, 2004.

Alison Jacques Gallery in collaboration with Charlie Scheips presents an exhibition of work by Robert Mapplethorpe curated by David Hockney. Mapplethorpe is considered one of the most important photographers of the twentieth century and this is a unique opportunity to discover his work through the eyes of another artist. The pair first met in1970 when Hockney and his assistant Mo McDermott visited Robert Mapplethorpe who was living with the rock musician Patti Smith at the Chelsea Hotel, New York. Hockney went on to be photographed by Mapplethorpe on several occasions including the well known 1976 portrait on New York’s Fire Island with Henry Geldzahler, the renowned curator and cultural commissioner of New York in the 70s.

Highlighting Robert Mapplethorpe's aesthetic sensibility, the controlled balance between light and shadow, balance and symmetry, beauty and obscenity; Hockney takes the viewer on a personal selection of portraits, still lives, flowers and nudes in what is a fresh and previously unseen overview of the photographer’s work to date. The show comprises of around sixty of Mapplethorpe’s photographs taken in the years 1975 – 1988. Many of the images are lesser known and some have never previously been exhibited in London.

The exhibition will feature portraits of leading creative figures in contact with both Mapplethorpe and Hockney. Portraits including artists Keith Haring, Andy Warhol, Roy Lichtenstein, Ed Ruscha, and Louise Bourgeois will be shown alongside the gay porn star Peter Berlin, writers William Burroughs and Bruce Chatwin, and the poet and rock icon Patti Smith. Hockney has also selected portraits of famous acquaintances including Richard Gere, Lord Snowdon, Yoko Ono, Arnold Schwarzenegger, Marianne Faithful and Iggy Pop as well as art world personalities. These include curator Mario Amaya, who was with Andy Warhol when he was shot in 1968; Sam Wagstaff, Mapplethorpe’s long time partner and one of the pioneering collectors of photography whose extensive collection was sold to the Getty Museum in 1984; and key art dealers such as Robert Fraser, Leo Castelli and Ileana Sonnabend.

During Robert Mapplethorpe’s lifetime he had UK museum shows at the ICA, London (1983) and the National Portrait Gallery (1988). Since his death from AIDS in 1989, museums throughout the world have made his work the subject of numerous exhibitions, including the Hayward Gallery, London (1997). The current show follows on from ‘Mapplethorpe selected by Cindy Sherman’ at Sean Kelly Gallery, New York (2003) and ‘Robert Mapplethorpe curated by Cathy Opie’ at Mark Selwyn Fine Art, Los Angeles (2004).

David Hockney recently published Hockney’s Pictures, a retrospective selection of 45 years of his work. Charlie Scheips, is a freelance curator, editor and cultural historian based in New York City. He writes a weekly column entitled The Art Set for newyorksocialdiary.com. He was the founding director of the Condé Nast Archive.

Alison Jacques Gallery, London 16-18 Berners Street
London W1T 3LN

Next exhibition: Paul Morrison, March 18 - April 23, 2005

Related Post: Robert Mapplethorpe: A Season in Hell, Alison Jacques Gallery, London, 14 October - 21 November, 2009

Icon / Iconoclast at Marlborough Chelsea, NYC - An Exhibition of Works by: Francis Bacon, Francesco Clemente, David Hockney, Robin Kahn, Alex Katz, R.B. Kitaj, Ouattara, Ad Reinhardt, Philip Taaffe, Fred Tomaselli, Terry Winters, Curated by Raymond Foye

Icon / Iconoclast

Marlborough Chelsea, New York

November 8 - December 27, 1997

An Exhibition of Works by:

Francis Bacon

Francesco Clemente

David Hockney

Robin Kahn

Alex Katz

R.B. Kitaj

Ouattara

Ad Reinhardt

Philip Taaffe

Fred Tomaselli

Terry Winters

Curated by Raymond Foye

Marlborough Chelsea presents an exhibition of paintings, Icon/Iconoclast. The exhibition, consisting of one work each by eleven artists, is about the persistent power of images in modern life. Even though creative strategies in the arts have varied widely in the past three decades, challenges to pictorialism seem only to strengthen the hold that certain images possess over us. Attempting to break or destroy imagery, artists have, in fact, created entirely new pictorial conceptions expanding our definition of what constitutes a picture. This paradox is expressed by the title of the exhibition.

Beginning with Ad Reinhardt's black painting as an ultimate statement of both the iconic and the iconoclastic impulses in art, the exhibition explores the many ways in which contemporary painters have sought to re-define the image within the formal traditions of Western art. 

Like Ad Reinhardt, Francis Bacon has served as a touchstone for subsequent generations of artists: in this case, painters who have sought to pursue aspects of figuration, portraiture, and the passions of the flesh. Yet, the attempt to instill in modern painting the secular equivalence of the experience of ecstasis - so integral to the art of the Renaissance - was a lifelong preoccupation with both these artists, each in their own way.

The iconic image stands as an object of mediation and contemplation and embodies a system of belief which may be communicated through narrative, metaphor, or allegory. The painters chosen in this exhibition may all be characterized by their commitment to expanding conceptions of picture-making by means of investigating the image itself. The mistrust for iconoclastic images, which persists to this day, springs from similar origins: that artists are conjurers of illusions, and may propagate false beliefs. Recently, similar criticism has been most sharply directed at artists employing figuration and representation such as David Hockney, R.B. Kitaj, Alex Katz, and Francesco Clemente.

In the work of Philip Taaffe and Fred Tomaselli, figurative elements are deployed in the service of abstraction while preserving the flatness and frontality of the icon. Both artists explore a diagrammatic language akin to the mandala or symbolon: ritual configurations that speak to the inner working of an image and its correspondence to archaic forms. The wider perspective of the primacy of the aesthetic experience itself is the basis of the work of Terry Winters whose imagery finds its analogy in the complex nexus of biology and cognitive science.

Conceptualizations of the female body and aspects of women's roles in society have been the subject of recent work by Robin Kahn who draws on sources as diverse as history, alchemy and anthropology. The legacy of symbols which is the inheritance of iconography from Medieval and Renaissance times have functioned as source material for many of her works. In the work of Ouattara, an African artist from the Ivory Coast, the icon comes closest to its animist origins as mediator between the worlds of the human and the divine.

All of the living artists in Icon/Iconoclast are represented by new work. A centerpiece of the exhibition is a major ensemble of paintings and drawings by R.B. Kitaj constituting a single work, The Killer Critic Assassinated by his Widower, Even, (1997). The subject of a controversial exhibition earlier this year at London's Royal Academy, the work is a visual rebuttal to the critical malign following Kitaj's retrospective and the subsequent death of his wife, Sandra, events which the artist relates in the work itself. It is Kitaj's farewell address to London, a final salvo launched at the same philistine cultural establishment that Ezra Pound once lampooned in his famous suite of poems, Hugh Selwyn Mauberley.

Icon/Iconoclast has been organized by Raymond Foye. Along with Francesco Clemente he is co-publisher of Hanuman Books, a press devoted to poetry, Hinduism, and writings by artists (a list that include William Burroughs, Rene Ricard, Francis Picabia, Willem deKooning, Cookie Mueller, René Daumal, Jack Kerouac, Robert Frank, Max Beckmann, Patti Smith and others). He has curated (with Ann Percy) a full scale retrospective of the works of Francesco Clemente, Three Worlds (Philadelphia Museum of Art), and over the past twenty years has edited books, catalogues and livres d'artiste by numerous artists in the exhibition, including David Hockney, R.B. Kitaj, Philip Taaffe, Terry Winters and Francesco Clemente. His published works on poets and poetry include James Schuyler (Farrar, Strauss & Giroux), John Wieners (Black Sparrow Press), Bob Kaufman (New Directions) and Edgar Allan Poe (City Lights Books). He presently lives and works in New York City.

MARLBOROUGH CHELSEA

211 West 19th Street, New York, NY 10011

www.malgoroughgallery.com