Tag Archives: David Hockney


In the art-for-art’s-sake world of Christophe Honoré and his characters—gay men in love with love and the legends of representation that give their at-risk lives sense, sensibility, and station—matters of love, life, death are navigated through a filter of literature and performance, and this combination of high art and pop sentimentality brings solace.

In PLAIRE, AIMER ET COURIR VITE / SORRY ANGEL—now playing at the Nuart—the brief 1990s encounter of Jacques (Pierre Deladonchamps) and Arthur (Vincent Lacoste) is haunted by the long shadows and quotations of some of the writers Honoré recently celebrated in his stage piece Les IdolesBernard-Marie Koltès, Hervé Guibert—supplemented by queer icons and allies Jean Genet, Isabelle Huppert, Robert Wilson, Walt Whitman, W.H. Auden, David Hockney, Andy Warhol, and Rainer Werner Fassbinder.

Jacques, not willing to undergo yet another course of AIDS treatment, is reaching the end of his story just as Arthur—like Honoré, a transplant from the provinces—is beginning his. With a little help from his idols, Jacques can put Arthur on the path to become a proper young Parisian.


Through March 21.

Nuart Theatre

11272 Santa Monica Boulevard, West Los Angeles.

From top: Pierre Deladonchamps (foreground) and Vincent Lacoste in Sorry Angel; Deladonchamps; Deladonchamps and Lacoste; Lacoste.


Sales are good, tickets are selling out, events are full, and the sun is shining—although a brief shower is forecast for midday Sunday—so the inaugural edition of Frieze Los Angeles should be followed by many more.

We hope Felix returns, too. Co-founded by Morán Morán brothers Al and Mills and collector Dean Valentine, it’s an intimate fair headquartered in Hollywood.


Through Sunday, February 17.

Hollywood Roosevelt

7000 Hollywood Boulevard, Los Angeles.

An Arthur Jafa edition of Name That Tune has been added to today’s Frieze Talks, and the fair will close on Sunday with Miranda July and Maggie Nelson in conversation.

When you’re out on the Paramount studio backlot in the Frieze Projects section, stop by the Sqirl/Acid-Free space for Sqirl Away to-go items from the Los Feliz restaurant as well as a selection of art books and periodicals, including Liz Craft’s …my life in the sunshine—published by DoPe Press—and the new print issue of PARIS LA.


Through Sunday, February 17.

Paramount Pictures Studios

5515 Melrose Avenue, Los Angeles.

From top: Ken Price, Return to LA, 1990, courtesy the artist and Matthew Marks (Frieze Los Angeles); Florian Morlat, collage, courtesy of the artist and The Pit (Frieze Los Angeles); Jessi Reaves installation at Felix, courtesy the artist and Bridget Donahue, New York; Kristen Morgin, Jennifer Aniston’s Used Book Sale (detail), ceramic, courtesy the artist and Marc Selwyn Fine Art (Felix); David Hockney, Peter Showering, 1976, C print, courtesy the artist and Matthew Marks (Frieze Los Angeles); Nan Goldin, Blue, 2016, courtesy the artist and Marian Goodman (Frieze Los Angeles).


The paintings, drawings, and photographs on view in HOCKNEY/HAMILTON—EXPANDED GRAPHICS—an exhibition in Cologne of the early work of Richard Hamilton and David Hockney—are enhanced by two 25-minute shorts by art-film innovator James Scott.

LOVE’S PRESENTATION (1966) follows Hockney as he created his Il­lus­tra­tions for Four­teen Po­ems by C.P. Ca­va­fy series, and RICHARD HAMILTON (1969) “brings the tem­ples of con­sump­tion, pop stars, and crossed-out Mar­i­lyns back in­to cir­cu­la­tion and dis­solves them in the noise of the me­dia from which Hamil­ton took them.”*


Through April 14.

Museum Ludwig

Hein­rich-Böll-Platz, Cologne.

From top: Richard Hamilton, My Marilyn (paste-up), 1964, oil on photographs, Museum Ludwig, Cologne; James Scott, still from Love’s Presentation (1966; Hockney drawing directly from photographs onto the plate), image courtesy of Scott; Richard Hamilton, Swingeing London 67 II, 1968, screenprint and oil on canvas, Museum LudwigDavid Hockney, Two Boys, from Il­lus­tra­tions for Four­teen Po­ems by C.P. Ca­va­fy (1966), etching and aquatint on paper, donated to Museum Ludwig by Her­bert Mey­er-Ellinger and Chris­toph Vow­inck­el © David HockneyRichard Hamilton, Palindrome, 1974, acrylic film on collotype on paper, Museum Ludwig, Cologne, loan Freunde der Art Cologne e.V., 2012. All Hamilton: © R. Hamilton, all rights reserved/VG Bild-Kunst, Bonn.


The poet, journalist, novelist, and editor Stephen Spender is the subject of an exhibition at Frieze London, presented by Hauser & Wirth and Moretti Fine Art.

The project explores Spender’s progressive ideas and artistic friendships, and features work by artists he personally knew and/or collected, including Michael Andrews, Frank Auerbach, David HockneyLucian Freud, Leon Kossoff, Henry Moore, Giorgio Morandi, Pablo PicassoSerge Poliakoff, and Yannis Tsarouchis.

A beautiful exhibition catalogue—edited by Ben Eastham and formatted in the style of Horizon, the journal Spender, Cyril Connolly, and Peter Watson founded in 1939—includes artwork reproductions, poems by Spender, and essays on his deep affinities with art, literature, and political activism in the 1930s. “On Censorship” by Caroline Moorehead addresses Spender’s connection with its subject through the journal he co-founded, Index on Censorship.

(In the early 1990s, Spender himself prevailed on the court system to prevent the publication of While England Sleeps, David Leavitt’s novel that appropriated stories from Spender’s autobiography World within World and added scenes of gay erotica, which he dismissed as “pornography.” Spender married twice—Natasha Spender was his widow and he was the father of Matthew and Elizabeth—but, as disclosed in his New Selected Journals and letters to Christopher Isherwood and others, Spender’s emotional and sexual life was marked by numerous same-sex relationships.)


Thursday, October 4 through Sunday, October 7.

Frieze London—Hauser & Wirth, Booth D01, Regents Park, London.

The Worlds of Stephen Spender catalogue.

From top: Henry Moore, Portrait of Stephen Spender, 1934. © Henry Moore Foundation. Image credit: Hauser & Wirth.

Exhibition catalogue image credit: Hauser & Wirth. Book design by Fraser Muggeridge studio.

A 1929 photograph of Spender’s German friend Franz Büchner on the cover of the novel The Temple, written in the late 1920s and finally published in 1988. Image credit: Faber and Faber.

Below: W.H. Auden (left), Stephen Spender, and Christopher Isherwood in 1931.


David Hockney’s art has been lively from the first because he has conducted his education in public with a charming and endearing innocence. The pictures are often distinctly autobiographical, confirming Hockney’s place in the grand tradition of English eccentricity. He has at each stage given us touchingly curious indications of how he felt, what he knew, and whom he admired. The humor both disguises feeling and insists that it is too strong to reveal without being disguised.” — Henry Geldzahler*


DAVID HOCKNEY, November 27 through February 25.

MET FIFTH AVENUE, 1000 Fifth Avenue, New York City.


*Henry Geldzahler, “David Hockney,” in David Hockney by David Hockney (New York: Abrams, 1977). Reprinted in Henry Geldzahler, Making it New: Essays Interviews and Talks (New York: Turtle Point Press, 1994), 126.

From top: Henry Geldzahler and Christopher Scott, 1969; Henry Geldzahler (lithograph); Looking at Pictures on a Screen, 1977. All artwork by David Hockney.

Hockney (left) and Geldzahler. Image credit: Palm Pictures.