{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-572d6a42.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-f4d0de30.css\" media=\"all\" /\u003e\n\u003cdiv data-title='David Hockney exhibition to open at Tate Britain' data-url='/boclips/videos/5c54d30dd8eafeecae1e6a0a' data-video-url='/boclips/videos/5c54d30dd8eafeecae1e6a0a' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nDavid Hockney exhibition to open at Tate Britain\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eDAVID HOCKNEY EXHIBITION TO OPEN AT TATE BRITAINIt's not often an artist finds himself occupying 12 rooms of London's leading museum of British art and the front page of populist tabloid The Sun. But David Hockney is unique.For curators...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eDAVID HOCKNEY EXHIBITION TO OPEN AT TATE BRITAINIt's not often an artist finds himself occupying 12 rooms of London's leading museum of British art and the front page of populist tabloid The Sun. But David Hockney is unique.For curators of a major retrospective opening this week at Tate Britain , Hockney is an innovator whose 60-year career has taken in sketching, painting, printmaking, photography and digital iPad experiments. His depictions of sun-dappled Los Angeles swimming pools and wooded Yorkshire hills are among the best-known images in contemporary art.\"It starts in the 1960s when he just arrived at the Royal College of Art when he takes on '60s abstraction and turns it into something kind of queer, a sort of gay propaganda, he calls it,\" explained Chris Stephens, curator of the Tate exhibition, which opens Thursday.\"And then you see him in different ways, in different periods exploring how you engage with the world, how you describe the world in pictures, while also kind of engaging in a debate about what art is, so a lot of the times in the '60s he sort of satirizing abstraction as well, taking some of the rules of abstraction and making I think for him a more interesting and more human by making it about places and people.\"Stephens said that Hockney has always embraced challenges presented by technology.\"He arrived from the beginning as being fascinated by finding new ways of making pictures,\" he said. \"All through his career he's engaged with something new. So when sophisticated color photocopies came in, he started making prints with a photocopier, feeding a sheet through so you get these layered images. When faxes came in he started sending pictures to friends by fax; and then of course when the iPhone and iPad came along, he started making drawings, initially just to send to people and then later kind of presented them in exhibitions as they are here.\"Hockney's iPad drawings fill the final room of the exhibition, which contains some 250 works in all: drawings, paintings in acrylic and oil, photo collages and videos. The oldest piece is a teenage self-portrait from 1954. The most recent paintings of his LA home were completed in 2016.Stephens said Hockney has spent his career trying to answer a fundamental question: \"what it is to make pictures, why make pictures, how do you capture the real world of time and movement in something flat and static?\"Hockney left gray Britain for southern California in the 1960s, and strove to capture the intense LA light and the rippling surface of swimming pools in paintings like \"A Bigger Splash.\"Later, he experimented with photography. Not single photographs, which Hockney has dismissed as \"looking at the world from the point of view of a paralyzed cyclops.\" Instead, he combined scores of photos into large, multi-perspective collages of landscapes including the Grand Canyon and the iconically American \"Pearblossom Highway.\"Art critic Estelle Lovatt thinks Hockney's popularity is down to how \"generous\" he is.\"He uses color, he uses the camera, he uses film in the most exceptional and unimaginable ways and he has this great imagination and this great power to put on 2D what is actually 3D and he actually confuses us and he plays with us and he cajoles with us and he wants us to step through the canvas with him, or through the photograph with him. We are part of the artwork,\" she said. In the early 2000s, Hockney looked afresh at the fields and forests of Yorkshire in a series of exuberant landscape paintings that combined bold color with minute attention to the texture of snow on a hillside or blossom on a hawthorn hedge.Alongside Hockney's artistic journey, the exhibition charts how a gay, working-class youth from the unfashionable north of England went from outsider to national treasure.In 1997 Queen Elizabeth II made Hockney a Companion of Honour, an award limited to 65 people \"of distinction.\" He is currently designing a stained-glass window for Westminster Abbey to honor the queen's long reign.He had a minor stroke in 2012, but still paints every day. The show, which runs to May 29, is the fastest-selling in Tate Britain's history. It moves on to the Pompidou Center in Paris from June 21 to Oct. 23, and New York's Metropolitan Museum of Art from November to February.London, 6 February 20171. Wide shot Tate Britain 2. Close-up banner with Hockney's name3. Wide shot exhibition room4. Medium shot \"Portrait of an Artist (Pool with Two Figures)\" (1972)5. Close pan \"Portrait of an Artist (Pool with Two Figures)\" (1972)6. Wide shot guest looking at \"Mr and Mrs Clark and Percy\" (1971)7. Wide shot \"Christopher Isherwood and Don Bachardy\" (1968)8. Wide shot paintings including \"My Parents\" (1977)9. Wide shot paintings including \"A Lawn Being Sprinkled\" (1967)10. Close tilt up on \"A Lawn Being Sprinkled\" (1967)11. Medium shot \"A Bigger Splash\" (1967)12. Close tilt up \"Sunbather\" (1966)13. Wide shot paintings including \"Peter Getting Out of Nick's Pool\" (1966) in the foreground and \"A Bigger Spash\" (1967) in the background14. Wide shot guest looking at painting15. Wide shot guest looking at \"American Collectors (Fred and Marcia Weisman)\" (1968)16. SOUNDBITE (English) Chris Stephens, curator of the exhibition:\"Yeah sure, I mean the exhibition, it has a focus, an emphasis, which is on the way throughout his mature career Hockney has really interrogated what it is to make pictures, why make pictures, how do you capture the real world of time and movement in something flat and static? So it starts in 1960 when he just arrived at the Royal College of Art and takes on '50s abstraction and turns it into something kind of queer, a sort of gay propaganda, as he calls it. And then you see him in different ways, in different periods exploring how you engage with the world, how you describe the world in pictures while also kind of engaging in a debate about what art is. So a lot of the times in the '60s he sort of satirizing abstraction as well and taking some of the rules of abstraction and making I think - for him - it more interesting and more human by making it about places and people.\"17. Wide shot paintings including  \"A Closer Winter Tunnel\" (2006)18. Close tilt up on detail of \"A Closer Winter Tunnel\" (2006)19. Medium shot \"Elderflower Blossom, Kilham\" (July 2006) 20. Medium of \"The Road to Thwing\" (2006)21. Close pan to left of \"The Road to Thwing\" (2006)22. Wide shot \"Woldgate Woods\" (2006)23. Close pan down on details of \"Woldgate Woods\" (2006)24. Wide shot \"Hawthorne Blossom Near Rudston\" (2008)25. Wide shot \"May Blossom on the Roman Road\" (2009)26. SOUNDBITE (English) Estelle Lovatt, art critic:\"He just uses the canvas. He uses color, he uses the camera, he uses film in the most exceptional and unimaginable ways and he has this great imagination and this great power to put on 2D what is actually 3D and he confuses us and he plays with us and he cajoles with us and he wants us to step through the canvas with him, or through the photograph with him. We are part of the artwork. He's very generous.\"27. Wide shot paintings28. Medium shot \"15 Canvas Study of the Grand Canyon\" (199829. Medium shot \"Pacific Coast Highway and Santa Monica\"(1990)30. Wide shot room with painting \"Outpost Drive Hollywood\"(1980)31. Wide shot exhibition room32. Medium shot \"The Other Side (1990-1993)33. Wide shot \"Breakfast at Malibu, Wednesday\" (1989)34. Wide shot \"The Road Across the Wolds\" (1997)35. Close pan of \"Red Pots in the garden\" (2000)36. Wide shot paintings37. SOUNDBITE (English) Chris Stephens, curator of the exhibition:\"Well I think, you know, one of the things that runs through this show you'll see is his ability to capture the character of a place or of a person or of a relationship. So you know, in the '60s he captures L.A. and then in the 2000s he captures the Yorkshire landscape which he'd known as a child. But I think partly it is a love of that landscape and maybe (it was) shortly after his mother had died so it is a re-engagement with his youth. But also particularly dominant is his celebration of spring, year on year on year. He tells the story that when he arranged to do an exhibition at the Royal Academy of that work he said, \"It'll have to be two years away because I need two more springs.\" And I think there is a kind of sense of mortality behind that, you know, this celebration of the eternal renewal of the seasons. And for a man entering his 70s, that's hugely important too.\"38. Wide shot iPad drawing \"The Supper\"39. Medium shot iPad drawing \"The Smoking Room\"40. Wide shot various iPad drawings41. Various close-ups of iPad drawings42. SOUNDBITE (English) Chris Stephens, curator of the exhibition:\"David, you know, right from the beginning has being fascinated by finding new ways of making pictures. So early on at the Royal College he started making etchings because he said he couldn't afford canvases. And, you know, his etchings are some of his most innovate known. And all through his career he's engaged with something new. So when sophisticated color photocopies came in, he started making prints with a photocopier, feeding a sheet through so you get these layered images. When faxes came in he started sending pictures to friends by fax; and then, of course, when the iPhone and iPad came along, he started making drawings, initially just to send to people and then later kind of presented them in exhibitions as they are here.\"43. Wide pan to screen with video installation \"The Four Seasons Woldgate Woods\" (2010)44. Tilt down room with installation \"The Four Seasons Woldgate Woods\" (2010)45. Medium shot screen \"The Four Seasons Woldgate Woods\" (2010)46. Close-up man watching installation, pan to screen \"The Four Seasons Woldgate Woods\" (2010)47. 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