“Hockney” opened today at the Film Society of Lincoln Center and at Metrograph in New York, and at Laemmle Theaters in Los Angeles. It is an exquisitely beautiful documentary about one of the world’s most respected artists who was born into a working class family in Bradford, England seventy-eight years ago. He shares that background with Andy Warhol whose father was a coal miner from Pittsburgh. Like Warhol, David Hockney is gay with the major difference being a willingness to represent the male figure erotically but by no means as daring as a Robert Mapplethorpe photo.
Essentially, Hockney’s paintings are a throwback to the 19th century, concentrating on portraits and landscapes but done in a way that is distinctly modern. Whether you have never seen his work or are familiar with it like me, the film is a totally engaging museum-like tour of paintings that are a feast for the eyes. As a human being, Hockney is by no means exceptional. His life is all about his work and completely absent of the kind of drama Van Gogh or Basquiat experienced. Unlike Picasso, who he regards as his major influence, he never painted anything like “Guernica”. Even during the depths of the AIDS epidemic, his paintings were more mournful than angry. Oddly enough, his only other “social” concern has been about tobacco, a weed that he is devoted to. Early in the film, he states that he is often tempted to put up a pro-smoking billboard in health-conscious Los Angeles.
His most representative work is devoted to swimming pools in Los Angeles. Notwithstanding the seeming banality of the subject, each one transforms the material into something that becomes as sublime as Monet’s lily pads. Despite the contempt that many people hold Los Angeles in, Hockney was smitten with the city from the start. He explains that it had the aura of motion pictures that mesmerized him in his humdrum home town in the 1950s. Born in 1937, he describes himself as belonging to the “pre-TV” generation. Going to the “pictures” was a big occasion for him and his parents so the idea of being near Hollywood inspired him.
He was also drawn to the beach and surfer world like a moth to a flame. There were obvious homoerotic reasons for that as well as his fascination with the interaction of sunlight and water, something that was reflected in all of his landscapes that have the ability to render a reality more real than reality itself.
Perhaps the most engaging aspect of the film is Hockney’s ability to explain how he has evolved as an artist and even more importantly to communicate the spirit of his work. In one memorable moment, he muses on the famous swimming pool paintings. When you see someone standing next to a pool about to dive in, you see his or her dappled reflection in the water. The contrast between the two representations of the human form are meant to create a kind of dynamism that gives the images much more interest than their ostensibly mundane origins. Hockney is very articulate and intelligent so listening to him is an experience that no museum tour can compare to.
Despite his advanced years, Hockney remains active in his studio. Always one to borrow eclectically from the various techniques other artists have introduced, his latest work contains images captured on the IPhone and IPad. For a glimpse into his work, I strongly recommend a visit to http://www.hockneypictures.com/.