Art, Animated. David Hockney: Current

Research output: Other contribution to conferencePresentation only

Abstract

In Novemer 2016, the National Gallery of Victoria (NGV) opened the exhibition David Hockney: Current. The exhibition features traditional paintings, digital drawings, digital mixed media, and temporal artworks. This paper will examine the educational and cultural significance of building accessibility to fine arts through animation, using David Hockney: Current as a case study. The exhibition features animation of process, showing the evolution of Hockney’s digital drawings, stroke by stroke, recalling lightening sketches. Animation simultaneously a re-animation of the artist at work, and animation of the trace. The animated drawings foster relation between artist and audience in a time-frame that belies normative transactional value ideals of art practice. This culture-jamming is in line with Hockney’s adoption of tools such as the iPad. The linking of artist to audience through consumer-object will be explored as a point of cultural accessibility. The impact of Hockney’s split-screen temporal works will also be discussed. Extending upon his research into early application of optical tools in arts practice (Hockney 2001), his video installations The Jugglers (2012) and The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010) invite viewers to “look more carefully” (Hockney in: National Gallery of Victoria 2016). The curatorial relationship between the mural-sized video installations of Woldgate Woods and Hockney’s multi-panel painted murals of similar terrain create an interesting point of similarity and difference, inviting viewers to consider the different points of immersion in scale and perspective. These themes bring insights to the traditional works presented in the show, highlighting themes recurrent in Hockney’s work that exist beyond the scope of the work shown in this exhibition. The temporal works synthesise elements that have recurred thematically for Hockney over many decades, allowing naïve engagement to have a deeper outcome than traditional exhibition outside a retrospective format. The value of forming relation through animation as a form of cultural education will be explored in this paper.
Original languageEnglish
Number of pages2
Publication statusPublished - 2017
EventThe Society for Animation Studies Annual Conference: And yet it moves - Università degli Studi di Padova, Padua, Italy
Duration: 03 Jul 201707 Jul 2017
Conference number: 29
http://sas2017.beniculturali.unipd.it/web/wp-content/uploads/2017/06/programma_SAS2017_web.pdf

Conference

ConferenceThe Society for Animation Studies Annual Conference
CountryItaly
CityPadua
Period03/07/1707/07/17
Internet address

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art
artist
stroke
video
fine arts
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education

Cite this

Walls, R. (2017). Art, Animated. David Hockney: Current. Paper presented at The Society for Animation Studies Annual Conference, Padua, Italy.
Walls, Rachel. / Art, Animated. David Hockney: Current. Paper presented at The Society for Animation Studies Annual Conference, Padua, Italy.2 p.
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abstract = "In Novemer 2016, the National Gallery of Victoria (NGV) opened the exhibition David Hockney: Current. The exhibition features traditional paintings, digital drawings, digital mixed media, and temporal artworks. This paper will examine the educational and cultural significance of building accessibility to fine arts through animation, using David Hockney: Current as a case study. The exhibition features animation of process, showing the evolution of Hockney’s digital drawings, stroke by stroke, recalling lightening sketches. Animation simultaneously a re-animation of the artist at work, and animation of the trace. The animated drawings foster relation between artist and audience in a time-frame that belies normative transactional value ideals of art practice. This culture-jamming is in line with Hockney’s adoption of tools such as the iPad. The linking of artist to audience through consumer-object will be explored as a point of cultural accessibility. The impact of Hockney’s split-screen temporal works will also be discussed. Extending upon his research into early application of optical tools in arts practice (Hockney 2001), his video installations The Jugglers (2012) and The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010) invite viewers to “look more carefully” (Hockney in: National Gallery of Victoria 2016). The curatorial relationship between the mural-sized video installations of Woldgate Woods and Hockney’s multi-panel painted murals of similar terrain create an interesting point of similarity and difference, inviting viewers to consider the different points of immersion in scale and perspective. These themes bring insights to the traditional works presented in the show, highlighting themes recurrent in Hockney’s work that exist beyond the scope of the work shown in this exhibition. The temporal works synthesise elements that have recurred thematically for Hockney over many decades, allowing na{\"i}ve engagement to have a deeper outcome than traditional exhibition outside a retrospective format. The value of forming relation through animation as a form of cultural education will be explored in this paper.",
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Walls, R 2017, 'Art, Animated. David Hockney: Current' Paper presented at The Society for Animation Studies Annual Conference, Padua, Italy, 03/07/17 - 07/07/17, .

Art, Animated. David Hockney: Current. / Walls, Rachel.

2017. Paper presented at The Society for Animation Studies Annual Conference, Padua, Italy.

Research output: Other contribution to conferencePresentation only

TY - CONF

T1 - Art, Animated.

T2 - David Hockney: Current

AU - Walls, Rachel

PY - 2017

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N2 - In Novemer 2016, the National Gallery of Victoria (NGV) opened the exhibition David Hockney: Current. The exhibition features traditional paintings, digital drawings, digital mixed media, and temporal artworks. This paper will examine the educational and cultural significance of building accessibility to fine arts through animation, using David Hockney: Current as a case study. The exhibition features animation of process, showing the evolution of Hockney’s digital drawings, stroke by stroke, recalling lightening sketches. Animation simultaneously a re-animation of the artist at work, and animation of the trace. The animated drawings foster relation between artist and audience in a time-frame that belies normative transactional value ideals of art practice. This culture-jamming is in line with Hockney’s adoption of tools such as the iPad. The linking of artist to audience through consumer-object will be explored as a point of cultural accessibility. The impact of Hockney’s split-screen temporal works will also be discussed. Extending upon his research into early application of optical tools in arts practice (Hockney 2001), his video installations The Jugglers (2012) and The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010) invite viewers to “look more carefully” (Hockney in: National Gallery of Victoria 2016). The curatorial relationship between the mural-sized video installations of Woldgate Woods and Hockney’s multi-panel painted murals of similar terrain create an interesting point of similarity and difference, inviting viewers to consider the different points of immersion in scale and perspective. These themes bring insights to the traditional works presented in the show, highlighting themes recurrent in Hockney’s work that exist beyond the scope of the work shown in this exhibition. The temporal works synthesise elements that have recurred thematically for Hockney over many decades, allowing naïve engagement to have a deeper outcome than traditional exhibition outside a retrospective format. The value of forming relation through animation as a form of cultural education will be explored in this paper.

AB - In Novemer 2016, the National Gallery of Victoria (NGV) opened the exhibition David Hockney: Current. The exhibition features traditional paintings, digital drawings, digital mixed media, and temporal artworks. This paper will examine the educational and cultural significance of building accessibility to fine arts through animation, using David Hockney: Current as a case study. The exhibition features animation of process, showing the evolution of Hockney’s digital drawings, stroke by stroke, recalling lightening sketches. Animation simultaneously a re-animation of the artist at work, and animation of the trace. The animated drawings foster relation between artist and audience in a time-frame that belies normative transactional value ideals of art practice. This culture-jamming is in line with Hockney’s adoption of tools such as the iPad. The linking of artist to audience through consumer-object will be explored as a point of cultural accessibility. The impact of Hockney’s split-screen temporal works will also be discussed. Extending upon his research into early application of optical tools in arts practice (Hockney 2001), his video installations The Jugglers (2012) and The Four Seasons, Woldgate Woods (Spring 2011, Summer 2010, Autumn 2010, Winter 2010) invite viewers to “look more carefully” (Hockney in: National Gallery of Victoria 2016). The curatorial relationship between the mural-sized video installations of Woldgate Woods and Hockney’s multi-panel painted murals of similar terrain create an interesting point of similarity and difference, inviting viewers to consider the different points of immersion in scale and perspective. These themes bring insights to the traditional works presented in the show, highlighting themes recurrent in Hockney’s work that exist beyond the scope of the work shown in this exhibition. The temporal works synthesise elements that have recurred thematically for Hockney over many decades, allowing naïve engagement to have a deeper outcome than traditional exhibition outside a retrospective format. The value of forming relation through animation as a form of cultural education will be explored in this paper.

UR - http://sas2017.beniculturali.unipd.it/web/wp-content/uploads/2017/06/Panel-E2-Rachel-Leah-Walls.pdf

M3 - Presentation only

ER -

Walls R. Art, Animated. David Hockney: Current. 2017. Paper presented at The Society for Animation Studies Annual Conference, Padua, Italy.