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That's the way I see it /

By: Hockney, David, 1937-.
Contributor(s): Stangos, Nikos.
Material type: materialTypeLabelBookPublisher: Thames and Hudson, c1993Description: 248 pages : illustrations, portraits ; 28 cm.Content type: text Media type: unmediated Carrier type: volumeISBN: 0500092133 :.Subject(s): Hockney, David -- Themes, motives | Hockney, David, 1937- | Painters, English
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Item type Current location Collection Call number Copy number Status Date due
Non-Fiction Davis (Central) Library
Non-Fiction
Non-Fiction 759.2 HOC 1 Available

Includes index.

Ill. on lining papers.

2 11 89 135

Reviews provided by Syndetics

Publishers Weekly Review

How the act of visual representation affects what we see--a theme of Hockney's paintings--is a major concern of this lively, unpretentious memoir edited by his friend Stango, who is an editor at the Thames and Hudson publishing house. Picking up where he left off in David Hockney by David Hockney (1976), the English-born artist, who moved to California in 1978, explains how he escaped ``the trap of naturalism'' under the combined influence of Picasso, two years in Paris (1973-75) and encounters with Islamic art in Egypt. He muses on love, imagination and aging, writes movingly of his loss of hearing and of his father's death, and discusses his opera set designs for Tristan and Isolde and The Magic Flute. Dozens of previously unpublished paintings and drawings are closely interwoven with the narrative. Among them are Hockney's most recent works--majestic views of the Pacific coast, room interiors, still lifes and his intriguing experiments with pictures made via personal computer, color laser printer or fax machine. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved

Booklist Review

Why this artist chose to move his residence permanently to California in 1978 is readily apparent. Hockney's candid manner belies stereotypes of British reserve as he continues his autobiographical reflections in a volume abundantly illustrated with the paintings, photographic collages, stage set designs, and works involving reproduction processes from the period of the mid-1970s to the present. Because he isn't afraid to reveal himself, Hockney's straightforward style contributes to an engaging and close-up look at the creative process of an artist embracing growth and change. Hockney's response to critics who faulted him at times for the carefree, colorful style of his work tells a great deal about the man: "My duty as an artist is to overcome the sterility of despair." Readers are in for an insightful journey, exploring along with Hockney a world of spatial possibilities both on two-dimensional surfaces and in the breathtaking three-dimensional designs for opera. ~--Alice Joyce