A Bigger Message: Conversations with David Hockney
- Artist: David Hockney
- Published: October 2011
- Publisher: Thames & Hudson, London
- Edition: -
- Format: Hardback
- Height: 23cm
- Pages: 248
- Illustrations: Includes 110 illustrations, 106 in colour
£18.95
Add to basketA Bigger Message: Conversations with David Hockney
In this remarkable new book, a record of a decade of private conversations with art critic Martin Gayford, David Hockney reveals via reflection, anecdote, passion and humour the fruits of his lifelong problems and paradoxes of representing a three-dimensional world on a flat surface.
The conversations are punctuated by witty observations from both Gayford and Hockney on numerous other artists, and enlivened by shrewd insights into the contrasting social and physical landscapes of California, where Hockney spent so many years, and Yorkshire, the birthplace to which he has returned. Some of the diverse people he has encountered along the way – from Henri Cartier-Bresson to Billy Wilder – make entertaining entries into the dialogue.
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Authors Biography
Martin Gayford is a critic, writer and curator. Among his previous books are The Yellow House: Van Gogh, Gauguin and Nine Turbulent Weeks in Arles and Constable in Love. In 2009 he was co-curator of the exhibition ‘Constable Portraits’ at the National Portrait Gallery, London. In the past he has been art critic of the Spectator and Sunday Telegraph and is now chief art critic for Bloomberg News.
Artists Biography
(b Bradford, 9 July 1937). English painter, printmaker, photographer and stage designer. Perhaps the most popular and versatile British artist of the 20th century, Hockney made apparent his facility as a draughtsman while studying at Bradford School of Art between 1953 and 1957, producing portraits and observations of his surroundings under the influence of the Euston Road School and of Stanley Spencer. From 1957 to 1959 he worked in hospitals as a conscientious objector to fulfil the requirements of national service. On beginning a three-year postgraduate course at the Royal College of Art, London, in 1959, he turned first to the discipline of drawing from life in two elaborate studies of a skeleton before working briefly in an abstract idiom inspired by the paintings of Alan Davie.
