Aziz Art February 2017
History of art(West and Middle East ) History of art(West and Middle East )
AZIZ ART February 2017 Monir Farmanfarmaian David Hockney Mohammed Kazem Co m pe tit io n
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AZIZ ART <strong>February</strong> <strong>2017</strong><br />
Monir Farmanfarmaian<br />
David Hockney<br />
Mohammed Kazem<br />
Co<br />
m<br />
pe<br />
tit<br />
io<br />
n
1-Monir Farmanfarmaian<br />
7-Competition<br />
8-Mohammed Kazem<br />
12-David Hockney<br />
21-Competition<br />
Director: <strong>Aziz</strong> Anzabi<br />
Editor : Nafiseh Yaghoubi<br />
Translator : Asra Yaghoubi<br />
Research: Zohreh Nazari<br />
http://www.aziz_anzabi.com
Monir Shahroudy Farmanfarmaian<br />
born 1924 is an Iranian artist who<br />
lives in Tehran, and a collector of<br />
traditional folk art.She has been<br />
noted as one of the most<br />
prominent Iranian artists of the<br />
contemporary period,and she is the<br />
first modern artist to achieve an<br />
artistic practice that weds the<br />
geometric patterns and cut-glass<br />
mosaic techniques of her Iranian<br />
heritage with the rhythms of<br />
modern Western geometric<br />
abstraction.<br />
Education<br />
Born to educated parents in the<br />
religious town of Qazvin in northwestern<br />
Iran, Farmanfarmaian<br />
acquired artistic skills early in<br />
childhood, receiving drawing<br />
lessons from a tutor and studying<br />
postcard depictions of western<br />
art.After studying at the University<br />
of Tehran at the Faculty of Fine <strong>Art</strong><br />
in 1944, she then moved to New<br />
York via steamer boat, when World<br />
War II derailed plans to study art in<br />
Paris, France. In New York, she<br />
studied at Cornell University, at<br />
Parsons The New School for Design,<br />
where she majored in fashion<br />
illustration, and at the <strong>Art</strong> Students<br />
League. As a fashion illustrator, she<br />
held various freelance jobs,<br />
working with magazines such as<br />
Glamour before being hired by the<br />
Bonwit Teller department store,<br />
where she made the acquaintance<br />
of a young Andy Warhol.<br />
Additionally, she learned more<br />
about art through her trips to<br />
museums and through her<br />
exposure to the Eighth Street Club<br />
and New York's avant-garde art<br />
scene, becoming friends with<br />
artists and contemporaries Louise<br />
Nevelson, Jackson Pollock, Willem<br />
de Kooning, Barnett Newman, and<br />
Joan Mitchell. 1
In early 1957, Farmanfarmaian<br />
moved back to Iran.<br />
Inspired by the residing culture,<br />
she discovered “a fascination with<br />
tribal and folk artistic tradition” of<br />
her country’s history, which “led<br />
her to rethink the past and<br />
conceive a new path for her art.”<br />
In the following years, she would<br />
further develop her Persian<br />
inspiration by crafting mirror<br />
mosaics and abstract monotypes,<br />
featuring her work at the Iran<br />
Pavilion in the 1958<br />
Venice Biennale,and holding a<br />
number of exhibitions in places<br />
such as Tehran University (1963),<br />
the Iran-America Society (1973),<br />
and the Jacques Kaplan/Mario<br />
Ravagnan Gallery (1974).<br />
Exile and second return to Iran<br />
In 1979 Farmanfarmaian and her<br />
second husband, Abolbashar,<br />
traveled to New York to visit<br />
family.Around the same time, the<br />
Islamic Revolution began, and so<br />
the Farmanfarmaians found<br />
themselves exiled from Iran, an<br />
exile that would last for over<br />
twenty years.Farmanfarmaian<br />
attempted to reconcile her mirror<br />
mosaics with the limited resources<br />
offered in America, but such lacking<br />
materials and comparatively<br />
inexperienced workers restricted<br />
her work. In the meantime, she<br />
placed larger emphasis on her<br />
other aspects of art, such as<br />
commissions, textile designs, and<br />
drawing.<br />
Since moving back to Iran in 1992,<br />
and later Tehran in 2004,<br />
Farmanfarmaian has reaffirmed her<br />
place among Iran’s art community,<br />
gathering both former and new<br />
employees to help create her<br />
mosaics.Today, she continues to live<br />
and work in Tehran<br />
<strong>Art</strong>work<br />
Aside from her mirror work,<br />
Farmanfarmaian is additionally<br />
known for her paintings, drawings,<br />
textile designs, and monotypes<br />
Mirror Mosaics<br />
Around the 1970s, Farmanfarmaian<br />
visited the Shah Cheragh mosque in<br />
Shiraz, Iran.With the shrine’s “highdomed<br />
hall… covered in tiny<br />
square, triangular, and hexagonal<br />
mirrors,”
similar to many other ancient<br />
Iranian mosques,this event acted<br />
as a turning point in<br />
Farmanfarmaian’s artistic journey,<br />
leading to her interest in mirror<br />
mosaic artwork. According to her<br />
memoir, Farmanfarmaian has<br />
described the experience as<br />
transformative:<br />
“The very space seemed on fire,<br />
the lamps blazing in hundreds of<br />
thousands of reflection... It was a<br />
universe unto itself, architecture<br />
transformed into performance, all<br />
movement and fluid light, all solids<br />
fractured and dissolved in<br />
brilliance in space, in prayer. I was<br />
overwhelmed.<br />
Aided by Iranian craftsman, Hajji<br />
Ostad Mohammad Navid, she<br />
created a number of mosaics and<br />
exhibition pieces by cutting<br />
mirrors and glass paintings into a<br />
multitude of shapes, which she<br />
would later reform into<br />
constructions that evoked aspects<br />
of Sufism and Islamic culture.<br />
“Ayeneh Kari” is the traditional art<br />
of cutting mirrors into small pieces<br />
and slivers, placing them in<br />
decorative shapes over plaster. This<br />
form of Iranian reverse glass and<br />
mirror mosaics is a craft<br />
traditionally passed on from father<br />
to son. Farmanfarmaian, however,<br />
was the first contemporary artist to<br />
reinvent the traditional medium in<br />
a contemporary way.By striving to<br />
mix Iranian influences and the<br />
tradition of mirror artwork with<br />
artistic practices outside of strictly<br />
Iranian culture, “offering a new way<br />
of looking at ancient aesthetic<br />
elements of this land using tools<br />
that are not limited to a particular<br />
geography,” Farmanfarmaian is able<br />
to express a cyclical conception of<br />
spirituality, space, and balance in<br />
her mosaics.<br />
Personal life<br />
Farmanfarmaian married Iranian<br />
artist Manoucher Yektai in 1950.<br />
They divorced in 1953, and in 1957,<br />
she returned to Tehran to marry<br />
lawyer Abolbashar<br />
Farmanfarmaian.In 1991,<br />
Abolbashar died of leukemia. She<br />
has two daughters, Nima and<br />
Zahra.While living in Iran,<br />
Farmanfarmaian was also an avid<br />
collector.
She sought out paintings behind<br />
glass, traditional tribal jewelry and<br />
potteries, and amassed one of the<br />
greatest collections of "coffeehouse<br />
paintings" in the country—<br />
commissioned paintings by folk<br />
artists as coffee-house,<br />
story-telling murals. The vast<br />
majority of her works and her<br />
collections of folk art were<br />
confiscated, sold or destroyed.<br />
Commissioned installations<br />
Major commissioned installations<br />
include work for the Queensland<br />
<strong>Art</strong> Gallery (2009), the Victoria &<br />
Albert Museum's Jameel Collection<br />
(2006), the Dag Hammerskjod<br />
building, New York (1981) and the<br />
Niyavaran Cultural Center (1977–<br />
78), as well as acquisitions by the<br />
Metropolitan Museum of <strong>Art</strong>,[18]<br />
The Tehran Museum of<br />
Contemporary <strong>Art</strong>, and the<br />
Museum of Contemporary <strong>Art</strong><br />
Tokyo.<br />
In popular culture<br />
Farmanfarmaian was named as one<br />
of the BBC's "100 Women" of 2015.<br />
Bibliography<br />
Farmanfarmaian's memoir is titled<br />
A Mirror Garden: A Memoir was coauthored<br />
by Zara Houshmand<br />
(Knopf, 2007). Her work is<br />
documented in the book, Monir<br />
Shahroudy Farmanfarmaian:<br />
Cosmic Geometry (Damiani Editore<br />
& The Third Line, 2011), which<br />
features in-depth interview by Hans<br />
Ulrich Obrist, and critical essays by<br />
Nader Ardalan, Media Farzin and<br />
Eleanor Sims, tributes by<br />
Farmanfarmaian's friends Etel<br />
Adnan, Siah Armajani, caraballofarman,<br />
Golnaz Fathi, Hadi Hazavei,<br />
Susan Hefuna, <strong>Aziz</strong> Isham, Rose<br />
Issa, Faryar Javaherian, Abbas<br />
Kiarostami, Shirin Neshat, Donna<br />
Stein and Frank Stella. She is<br />
referenced in an excerpt from The<br />
Sense of Unity: The Sufi Tradition in<br />
Persian Architecture by Nader<br />
Ardalan and Laleh Bakhtiar (1973),<br />
and an annotated timeline of<br />
Farmanfarmaian's life by Negar<br />
Azimi
7
Mohammed Kazem<br />
8
Mohammed Kazem (born 1969) is<br />
a contemporary Emirati artist<br />
working in Dubai, United Arab<br />
Emirates. He works primarily with<br />
video, sound art, photography,<br />
found objects and performance<br />
art.<br />
Kazem was a conceptual Emirati<br />
artist whose work was recognized<br />
as a group in a 2015 exhibit at the<br />
Salwa Zeidan Gallery.The other<br />
artists in the gallery's group were<br />
Hassan Sharif, Hussain Sharif<br />
(brother of Hassan Sharif),<br />
Abdullah Al Saadi and<br />
Mohammed Ahmed Ibrahim.<br />
Mohammed Kazem is a leading<br />
conceptual artist in the UAE<br />
contemporary art scene and is<br />
known for his incorporation of<br />
new media and his sophisticated<br />
formalist language. His interest in<br />
conceptual art and progressive<br />
attitude towards form and context<br />
is especially highlighted by his<br />
ongoing series “Directions.”<br />
Kazem first studied Fine <strong>Art</strong>s<br />
at the Emirates Fine <strong>Art</strong> Society<br />
and subsequently studied music<br />
at the Al Rayat Music Institute of<br />
Dubai and painting at the<br />
Edinburgh College of <strong>Art</strong>. He was a<br />
Painting Instructor at the Dubai <strong>Art</strong><br />
Atelier for ten years. Widely known<br />
through numerous solo and group<br />
exhibitions in the UAE and abroad,<br />
Kazem’s participation includes the<br />
Havana Biennial (2000), Singapore<br />
Biennale (2006), Dhaka Biennial–<br />
Bangladesh (2002), and the Sharjah<br />
Biennale (1993–2007). Most<br />
recently he exhibited at the<br />
University of the <strong>Art</strong>s, Philadelphia<br />
(2010); and at the Mori <strong>Art</strong><br />
Museum, Tokyo (2012). His works<br />
have been collected by private<br />
collectors and institutions such as<br />
Deutsche Bank as well as museums<br />
in Doha, Sharjah, JP Morgan Chase<br />
Bank (USA), and Sittard (Holland).<br />
“By engaging the work of Kazem,<br />
we can witness the urban<br />
modernity of an emerging nation<br />
through the eyes of its individual<br />
artists. In pursuing this initiative we<br />
hope to demonstrate that the<br />
developments we see in the region<br />
today do not come from a void, but<br />
rather evolve from the<br />
contemporary thought and practice<br />
of artists and intellectuals like<br />
Kazem,
whose work has consistently<br />
interrogated the relationship<br />
between the individual and<br />
his/her social, urban, and natural<br />
environments. In this sense, it<br />
manifests as a living artistic<br />
synthesis of a critical debate over<br />
the modernity and the global<br />
reality of the citizen and nationstate,”<br />
elaborated Fadda.<br />
Reem Fadda is currently<br />
working as Associate Curator of<br />
Middle Eastern <strong>Art</strong>–Guggenheim<br />
Abu Dhabi Project at the Solomon<br />
R. Guggenheim Foundation. She is<br />
also a PhD candidate at the History<br />
of <strong>Art</strong> and Visual Studies<br />
Department at Cornell University.<br />
Previously, Fadda was Director of<br />
the Palestinian Association for<br />
Contemporary <strong>Art</strong> (PACA) and<br />
worked as Academic Director<br />
at the International Academy<br />
of <strong>Art</strong> – Palestine, which she<br />
helped found in 2006. She curated<br />
many projects such as Liminal<br />
Spaces featured at PACA, Digital <strong>Art</strong><br />
lab Holon and Galerie Leipzig;<br />
Ramallah Syndrome with<br />
Decolonizing Architecture at the<br />
53rd Venice Biennale,<br />
Tarjama/Translation at the Queens<br />
Museum & Herbert E. Johnson<br />
Museum in New York and the 3rd<br />
RIWAQ Biennale, which she cocurated<br />
with Charles Esche in<br />
Ramallah.<br />
The National Pavilion of the United<br />
Arab Emirates is initiated and<br />
supported by His Excellency Abdul<br />
Rahman bin Mohammed Al Owais,<br />
UAE Minister of Culture, Youth and<br />
Community Development. The<br />
National Pavilion of the UAE<br />
continues to be developed and<br />
presented under the leadership of<br />
its Commissioner, Dr. Lamees<br />
Hamdan, a leader in the art and<br />
culture scene in the UAE and<br />
member of the Board of Directors<br />
of the Dubai Culture and <strong>Art</strong>s<br />
Authority.
Davd Hockney<br />
12
David Hockney, (born 9 July 1937)<br />
is an English painter, draughtsman,<br />
printmaker, stage designer and<br />
photographer. An important<br />
contributor to the pop art<br />
movement of the 1960s, he is<br />
considered one of the most<br />
influential British artists of<br />
the 20th century.<br />
Hockney has a home and studio in<br />
Kensington, London and two<br />
residences in California, where he<br />
has lived on and off for over 30<br />
years: one in Nichols Canyon, Los<br />
Angeles, and an office and<br />
archives on Santa Monica<br />
Boulevard in<br />
West Hollywood. For many years<br />
he also kept a home in Bridlington,<br />
East Riding of Yorkshire, until this<br />
was sold in 2015.<br />
Personal life<br />
Hockney was born in Bradford,<br />
England, to Laura and Kenneth<br />
Hockney (a conscientious objector<br />
in the Second World War), the<br />
fourth of five children.He was<br />
educated at Wellington Primary<br />
School, Bradford Grammar School,<br />
Bradford College of <strong>Art</strong> (where his<br />
teachers included Frank Lisle and<br />
his fellow students included<br />
Norman Stevens, David Oxtoby and<br />
John Loker)[citation needed] and<br />
the Royal College of <strong>Art</strong> in London,<br />
where he met R. B. Kitaj. While<br />
there, Hockney said he felt at home<br />
and took pride in his work. At the<br />
Royal College of <strong>Art</strong>, Hockney<br />
featured in the exhibition Young<br />
Contemporaries—alongside Peter<br />
Blake—that announced the arrival<br />
of British Pop art. He was<br />
associated with the movement, but<br />
his early works display expressionist<br />
elements, similar to some works by<br />
Francis Bacon. When the RCA said it<br />
would not let him graduate in 1962,<br />
Hockney drew the sketch The<br />
Diploma in protest. He had refused<br />
to write an essay required for the<br />
final examination, saying he should<br />
be assessed solely on his artworks.<br />
Recognising his talent and growing<br />
reputation, the RCA changed its<br />
regulations and awarded the<br />
diploma.<br />
A visit to California, where he<br />
subsequently lived for many years,<br />
inspired him to make a series of<br />
paintings of swimming pools in the<br />
comparatively new acrylic medium<br />
rendered in a highly realistic style<br />
using vibrant colours.
The artist moved to Los Angeles in<br />
1964, returned to London in 1968,<br />
and from 1973 to 1975 lived in<br />
Paris. In 1974 he began a decadelong<br />
personal relationship with<br />
Gregory Evans who moved with<br />
him to the US in 1976 and as of<br />
<strong>2017</strong> remains a business partner.<br />
In 1978 he rented the canyon<br />
house in which he lived when he<br />
moved to Los Angeles, and later<br />
bought and expanded it to include<br />
his studio.He also owned a 1,643-<br />
square-foot beach house at 21039<br />
Pacific Coast Highway in Malibu,<br />
which he sold in 1999 for around<br />
$1.5 million.<br />
Hockney is openlygay,and unlike<br />
Andy Warhol, whom he<br />
befriended, he openly explored<br />
the nature of gay love in his<br />
portraiture. Sometimes, as in We<br />
Two Boys Together Clinging (1961),<br />
named after a poem by Walt<br />
Whitman, the works refer to his<br />
love for men. Already in 1963, he<br />
painted two men together in the<br />
painting Domestic Scene, Los<br />
Angeles, one showering while the<br />
other washes his back.In summer<br />
1966, while teaching at UCLA he<br />
met Peter Schlesinger, an art<br />
student who posed for paintings<br />
and drawings, and with whom he<br />
was romantically involved.<br />
On the morning of 18 March 2013,<br />
Hockney's 23-year-old assistant,<br />
Dominic Elliott, died as a result of<br />
drinking drain cleaner at Hockney's<br />
Bridlington studio; he had also<br />
earlier drunk alcohol and taken<br />
cocaine, ecstasy and temazepam.<br />
Elliott was a first- and second-team<br />
player for Bridlington rugby club. It<br />
was reported that Hockney's<br />
partner drove Elliott to<br />
Scarborough General Hospital<br />
where he later died. The inquest<br />
returned a verdict of death by<br />
misadventure and Hockney was<br />
never implicated.<br />
In November 2015 Hockney sold his<br />
house in Bridlington, a fivebedroomed<br />
former guesthouse, for<br />
£625,000, cutting all his remaining<br />
ties with the town.
He retains a studio in London<br />
and a house in Malibu, California.<br />
Hockney has smoked cigarettes<br />
for over 60 years but has been<br />
teetotal since 1990 when he had a<br />
heart-attack. He holds a California<br />
Medical Marijuana Verification<br />
Card, which enables him to buy<br />
cannabis for medical purposes. He<br />
has used hearing aids since 1979,<br />
but realised he was going<br />
deaf long before that. He swims<br />
for half an hour each day and can<br />
stand for six hours at the easel.<br />
Work<br />
Hockney made prints, portraits of<br />
friends, and stage designs for the<br />
Royal Court Theatre,<br />
Glyndebourne, La Scala and the<br />
Metropolitan Opera in New York<br />
City.<br />
Born with synaesthesia, he sees<br />
synesthetic colours in response to<br />
musical stimuli.This does not show<br />
up in his painting<br />
or photography artwork, but is a<br />
common underlying principle in<br />
his designs for stage sets for ballet<br />
and opera—where he bases<br />
background colours and lighting on<br />
the colours he sees while listening<br />
to the piece's music.<br />
Portraits<br />
Hockney painted portraits at<br />
different periods in his career. From<br />
1968, and for the next few years he<br />
painted friends, lovers, and<br />
relatives just under lifesize and in<br />
pictures that depicted good<br />
likenesses of his subjects.<br />
Hockney's own presence is often<br />
implied, since the lines of<br />
perspective converge to suggest the<br />
artist's point of view.Hockney has<br />
repeatedly returned to the same<br />
subjects – his parents, artist Mo<br />
McDermott (Mo McDermott,<br />
1976), various writers he has<br />
known, fashion designers Celia<br />
Birtwell and Ossie Clark (Mr and<br />
Mrs Clark and Percy, 1970–71),<br />
curator Henry Geldzahler, art dealer<br />
Nicholas Wilder, George Lawson<br />
and his ballet dancer lover, Wayne<br />
Sleep.
On arrival in California, Hockney<br />
changed from oil to acrylic paint,<br />
applying it as smooth flat and<br />
brilliant colour. In 1965, the print<br />
workshop Gemini G.E.L.<br />
approached him to create a series<br />
of lithographs with a Los Angeles<br />
theme. Hockney responded by<br />
creating a ready-made art<br />
collection.<br />
The "joiners"<br />
In the early 1980s, Hockney began<br />
to produce photo collages, which<br />
he called "joiners", first using<br />
Polaroid prints and subsequently<br />
35mm, commercially processed<br />
colour prints. Using Polaroid snaps<br />
or photolab-prints of a single<br />
subject, Hockney arranged a<br />
patchwork to make a composite<br />
image. An early photomontage<br />
was of his mother. Because the<br />
photographs are taken from<br />
different perspectives and at<br />
slightly different times, the result<br />
is work that has an affinity with<br />
Cubism, one of Hockney's major<br />
aims—discussing the way human<br />
vision works. Some pieces are<br />
landscapes, such as Pearblossom<br />
Highway others portraits, such as<br />
Kasmin 1982, and My Mother,<br />
Bolton Abbey, 1982.<br />
Creation of the "joiners" occurred<br />
accidentally. He noticed in the late<br />
sixties that photographers were<br />
using cameras with wide-angle<br />
lenses. He did not like these<br />
photographs because they looked<br />
somewhat distorted. While working<br />
on a painting of a living room and<br />
terrace in Los Angeles, he took<br />
Polaroid shots of the living room<br />
and glued them together, not<br />
intending for them to be a<br />
composition on their own. On<br />
looking at the final composition, he<br />
realised it created a narrative, as if<br />
the viewer moved through the<br />
room. He began to work more with<br />
photography after this discovery<br />
and stopped painting for a while to<br />
exclusively pursue this new<br />
technique. Frustrated with the<br />
limitations of photography and its<br />
'one eyed' approach, however, he<br />
returned to painting.<br />
Later work<br />
In 1976, at Atelier Crommelynck,<br />
Hockney created a portfolio of 20<br />
etchings, The Blue Guitar: Etchings<br />
By David Hockney Who Was<br />
Inspired By Wallace Stevens Who<br />
Was Inspired By Pablo Picasso.
The etchings refer to themes in a<br />
poem by Wallace Stevens, "The<br />
Man with the Blue Guitar". It was<br />
published by Petersburg Press in<br />
October 1977. That year,<br />
Petersburg also published a book,<br />
in which the images were<br />
accompanied by the poem's text.<br />
Hockney was commissioned to<br />
design the cover and pages for the<br />
December 1985 issue of the<br />
French edition of Vogue.<br />
Consistent with his interest in<br />
cubism and admiration for Pablo<br />
Picasso, Hockney chose to paint<br />
Celia Birtwell (who appears in<br />
several of his works) from<br />
different views, as if the eye had<br />
scanned<br />
her face diagonally.<br />
In December 1985, Hockney used<br />
the Quantel Paintbox, a computer<br />
program that allowed the artist to<br />
sketch directly onto the screen.<br />
Using the program was similar to<br />
drawing on the PET film for prints,<br />
with which he had much<br />
experience. The resulting work<br />
was featured in a BBC series that<br />
profiled a number of artists.<br />
His artwork was used on the cover<br />
of the 1989 British Telecom<br />
telephone directory for Bradford.<br />
Hockney returned more frequently<br />
to Yorkshire in the 1990s, usually<br />
every three months, to visit his<br />
mother who died in 1999. He rarely<br />
stayed for more than two weeks<br />
until 1997, when his friend<br />
Jonathan Silver who was terminally<br />
ill encouraged him to capture the<br />
local surroundings. He did this at<br />
first with paintings based on<br />
memory, some from his boyhood.<br />
Hockney returned to Yorkshire for<br />
longer and longer stays, and by<br />
2005 was painting the countryside<br />
en plein air.He set up residence and<br />
an immense redbrick seaside<br />
studio, a converted industrial<br />
workspace, in the seaside town of<br />
Bridlington, about 75 miles from<br />
where he was born. The oil<br />
paintings he produced after 2005<br />
were influenced by his intensive<br />
studies in watercolour (for over a<br />
year in 2003–2004). He created<br />
paintings made of multiple smaller<br />
canvases—nine, 15 or more—<br />
placed together. To help him<br />
visualise work at that scale, he used<br />
digital photographic reproductions;<br />
each day's work was photographed,<br />
and Hockney generally took a<br />
photographic print home.
In June 2007, Hockney's largest<br />
painting, Bigger Trees Near Warter,<br />
which measures 15 feet by 40 feet,<br />
was hung in the Royal Academy's<br />
largest gallery in its annual<br />
Summer Exhibition.This work "is a<br />
monumental-scale view of a<br />
coppice in Hockney's native<br />
Yorkshire, between Bridlington<br />
and York. It was painted on 50<br />
individual canvases, mostly<br />
working in situ, over five weeks<br />
last winter." In 2008, he donated<br />
it to the Tate Gallery in London,<br />
saying: "I thought if I'm going to<br />
give something to the Tate I want<br />
to<br />
give them something really good.<br />
It's going to be here for a while. I<br />
don't want to give things I'm not<br />
too proud of ... I thought this was a<br />
good painting because it's of<br />
England ... it seems like a good<br />
thing to do."The painting was the<br />
subject of a BBC1 Imagine film<br />
documentary by Bruno Wollheim<br />
called David Hockney: A Bigger<br />
Picture' (2009) which followed<br />
Hockney as he worked outdoors<br />
over the preceding two years.<br />
Since 2009, Hockney has painted<br />
hundreds of portraits, still lifes<br />
and landscapes using the Brushes<br />
iPhone and iPad application, often<br />
sending them to his friends.<br />
His show Fleurs fraîches (Fresh<br />
flowers) was held at La Fondation<br />
Pierre Bergé in Paris. A Fresh-<br />
Flowers exhibit opened in 2011 at<br />
the Royal Ontario Museum in<br />
Toronto, featuring more than 100<br />
of his drawings on 25 iPads and 20<br />
iPods. In late 2011, Hockney<br />
revisited California to paint<br />
Yosemite National Park on his<br />
iPad.For the season 2012–2013 in<br />
the Vienna State Opera he<br />
designed, on his iPad, a large scale<br />
picture (176 sqm) as part of the<br />
exhibition series Safety Curtain,<br />
conceived by museum in progress.<br />
In September 2016 Hockney<br />
announced the issue of a new book<br />
David Hockney: A Bigger Book,<br />
scheduled to be published in<br />
October by Benedikt Taschen and<br />
costing £1,750 (£3,500 with an<br />
added loose print). The book,<br />
weighing almost 70lbs, had gone<br />
through 19 proof stages.He<br />
unveiled the book at the Frankfurt<br />
Book Fair where he was the<br />
keynote speaker at the opening<br />
press conference.
Set designs<br />
Hockney's first opera designs, for<br />
Stravinsky's The Rake's Progress at<br />
the Glyndebourne Festival Opera<br />
in England in 1975 and The Magic<br />
Flute (1978) were painted drops.In<br />
1981, he agreed to design sets and<br />
costumes for three 20th-century<br />
French works at the Metropolitan<br />
Opera House with the title Parade.<br />
The works were Parade, a ballet<br />
with music by Erik Satie; Les<br />
mamelles de Tirésias, an opera<br />
with libretto by Guillaume<br />
Apollinaire and music by Francis<br />
Poulenc, and L'enfant et les<br />
sortilèges, an opera with libretto<br />
by Colette and music by Maurice<br />
Ravel.The set for L'enfant et les<br />
sortilèges is a permanent<br />
installation at the Spalding House<br />
branch of the Honolulu Museum of<br />
<strong>Art</strong>. He designed sets for Puccini's<br />
Turandot in 1991 at the Chicago<br />
Lyric Opera and a Richard Strauss<br />
Die Frau ohne Schatten in 1992 at<br />
the Royal Opera House in<br />
London.In 1994, he designed<br />
costumes and scenery for twelve<br />
opera arias for the TV broadcast of<br />
Plácido Domingo's Operalia in<br />
Mexico City. Technical advances<br />
allowed him to become increasingly<br />
complex in model-making. At his<br />
studio he had a proscenium<br />
opening 6 feet (1.8 m) by 4 feet (1.2<br />
m) in which he built sets in 1:8<br />
scale. He also used a computerised<br />
setup that let him punch in and<br />
program lighting cues at will and<br />
synchronise them to a soundtrack<br />
of the music
WIDE OPEN 8 - Call for <strong>Art</strong>ists<br />
Submission Deadline: Early Bird <strong>February</strong> 19, <strong>2017</strong> or Final Application Deadline March 5, <strong>2017</strong><br />
We are excited to announce our eighth annual national juried art show, Wide Open 8, opening May<br />
13, <strong>2017</strong>. And again this year, we are privileged to have another of NY's art elite as our juror, the<br />
Museum of Modern <strong>Art</strong>'s Cara Manes, Curatorial Assistant in the Department of Painting and<br />
Sculpture. With her guidance and selections, we look forward to another spectacular show.<br />
Show Details<br />
WIDE OPEN 8: The broad theme of "Wide Open 8" encompasses all the possibilities of knowledge<br />
and freedom and love - wide open spaces...arms wide open...eyes wide open - but as with all<br />
things, there is the inevitable opposite - wide open to attack...corruption...failure. What kind of<br />
fantasy is this? What does it really indicate? This juried show looks to explore the idea of "wide<br />
open" in all the hidden niches of our collective psyche.<br />
Eligibility<br />
This call for submission is open to all residents of the U.S. and its Territories 18 years of age or<br />
older. This is a juried exhibition for artists working in all traditional and non-traditional 2D and 3D<br />
media, including film/video when part of an installation. All artwork must be original in concept,<br />
design and execution. Note: Crafts, kit work or reproductions of original works in other media (such<br />
as giclee reproductions of oil paintings), unless used as part of a mixed media work, will not be<br />
considered.<br />
Submission & Exhibition Dates<br />
Submission Deadline: Early Bird <strong>February</strong> 19 or Final Application Deadline March 5, <strong>2017</strong>.<br />
Gallery Exhibition Dates: May 13 - June 18, <strong>2017</strong> weekends 1-6P.M.<br />
Opening Reception: Saturday, May 13, <strong>2017</strong> from 1-6P.M.<br />
Juror<br />
Cara Manes is Assistant Curator in the Department of Painting and Sculpture at The Museum of<br />
Modern <strong>Art</strong>, where she works extensively on the ongoing displays in the collection galleries, as well<br />
as temporary exhibitions and special installations. Most recently she organized Projects104: Nástio<br />
Mosquito (2016) and the collection exhibition Take an Object (2015). Alongside museum<br />
colleagues, she has contributed to numerous other exhibitions, including From the Collection: The<br />
1960s (2016), Ellsworth Kelly: The Chatham Series (2013), <strong>Art</strong>ist's Choice: Trisha Donnelly (2012),<br />
and Cy Twombly: Sculpture (2011). Manes' writing has appeared in a variety of publications,<br />
including Hans Arp and the United States (Stiftung Arp, 2016) and Films and Videos by Robert<br />
Morris (Museu de <strong>Art</strong>e Contemporanea de Serralves, 2011). She holds degrees from Wellesley<br />
College and The City University of New York.<br />
$3000 in Cash Awards<br />
Bonus Offer<br />
<strong>Art</strong>ists accepted into Wide Open 8 can also send one additional work that will be exhibited in our<br />
Affordable <strong>Art</strong> area. All works must be smaller than 16" x 20" (including frame, if framed) and must<br />
be priced for sale at $500 or under.<br />
Judging<br />
All judging to enter this competition will be on-line. Entries that differ significantly from their<br />
digital images may be rejected. Decision of the judges is final.<br />
For More Information: http://bwac.org/2016/11/wide-open-8/<br />
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