佩斯纽约在2014年11月8日至2015年1月10日举行大卫·霍克尼（David Hockney）新个展，“一些新画（及摄影）”（Some New Painting [and Photography]）。与2014年9月5日至11月1日于佩斯纽约举行的大卫·霍克尼个展“春天到来”（The Arrival of Spring）所展出大卫·霍克尼近期的iPad绘画、木炭画和视频不同，此次展览是大卫·霍克尼自2009年以来绘画新作的首次展示，也是佩斯2014年来第二次展出霍克尼的作品，而艺术家在佩斯的第一次个展则可以追溯到2009年10月23日至12月24日的“大卫·霍克尼：2006年至2009年的绘画”。与此同时，佩斯将发布一本画册，收录有《更大的信息——大卫·霍克尼谈艺录》（A Bigger Message: Conversation With David Hockney，中文版也由上海人民美术出版社于2013年1月出版）的作者，即评论家马丁·盖福特（Martin Gayford）独家撰写的新文章。
    

    
    “一些新画（及摄影）”是大卫·霍克尼从英国返回洛杉矶之后完成的首次展览，霍克尼在苏格兰的东约克郡（East Yorkshire）度过了十年的时间，用绘画的方式探索这片故土的迷人风光。展览中的作品集中展现了霍克尼在人物描绘上的长期求索。在洛杉矶的工作室中，霍克尼以真实的模特——朋友们，同事们和一群舞者，来构建画面。这批画作包括端坐的人像，一系列回应马蒂斯《舞蹈》（Dance）的油画，以及在工作室中摆弄造型的人物画。霍克尼在他的工作室内施展“乾坤大挪移”，让人物在同一幅画作中多次出场。这批画作延续了他在创作中始终关注的主题：艺术史，图像空间和肖像技法。马丁·盖福特认为这个系列开创了新的图像空间：“每一个人物都运用了多点透视，空间整体亦然。因此，观看者与画面中的每一个人物也会产生微妙的关联，与仅从单一角度透视的画作相比，这些画作会带给观看者与众不同的体验。”
    

    

    
    展览除了绘画新作之外，还囊括了五件在高清荧幕上展示的摄影素描。这些作品将他在素描中使用元素，与在工作室中拍下的照片并置。这个系列与艺术家近期的iPad素描和影像作品，都延续了霍克尼运用科技进行图像创作的新思路。尽管画面中的每一个人物都描绘了某个具体的个体，但霍克尼的兴趣却不在于单纯的呈现或记录。他更在意的是如何推进其对图像空间和透视法的研究。正如艺术史学者凯·海默（Kay Heymer）所言：“霍克尼对人物的处理早已超越传统的传记性或心理上的叙述范式。他走在一场绵延的旅程中，其笔下所绘，正是其眼中所见。”
    

    

    
关于大卫·霍克尼：
    1937年生于英格兰布拉德福德，目前工作和生活于美国洛杉矶和英国，其在约克郡创作过一系列近百年来最具辨识度图像。霍克尼在艺术上颇具野心地进行多途径尝试，在其作品中广泛运用各种媒介和技术手段，但却始终根植于绘画、与绘画相联系。“我始终坚信绘画不会消失，因为它无可替代。”霍克尼曾说道。他继续在其他媒介上开疆拓土，正如劳伦斯·韦施勒（Lawrence Weschler）所言：“自2005年以降的作品是他艺术生涯中最狂暴、最愉悦、最持久也最高产的绘画阶段。”1962年，即在伦敦皇家艺术学院的最后一年，大卫·霍克尼获得了金牌奖，这是他生涯中诸多奖项中的第一个。霍克尼艺术家早在26岁时就举行了第一次个展。1970年，伦敦的白教堂画廊为他举办了巡回个展，自此，霍克尼的作品开始在世界一流博物馆获展。2012年，女王伊丽莎白二世为霍克尼颁予荣誉勋章（Order of Merit）。他关于布里德灵顿镇的绘画作品，于2009年以“大卫·霍克尼：仅是自然”（David Hockney: Just Nature）为题首展于德国伍尔特艺术馆（Kunsthalle Würth），该年晚些时候又以“大卫·霍克尼：绘画2006-2009”为题在佩斯出展，也是12年来在纽约的首次展览。
    

    
    近年，伦敦皇家艺术学院呈现了以“大卫·霍克尼：更大的图像”（David Hockney: A Bigger Picture）为题的回顾展，该展继而在毕尔巴鄂古根海姆博物馆和位于克隆的路德维希博物馆（Museum Ludwig）上演。2013年，洛杉矶郡立美术馆（Los Angeles County Museum of Art）以艺术家创作的多频道视频作品组织了两次展览。旧金山的笛洋美术馆（de Young Museum）的“大卫·霍克尼：更大的展览”（David Hockney: A Bigger Exhibition）则囊括了“春天到来”中的作品，即佩斯于2014年举办的关于艺术家影像作品和iPad画作的展览。
    
David Hockney：Some New Painting (and Photography)
508 West 25th Street, New York
November 8, 2014 – January 10, 2015
    
New York—Pace Gallery is pleased to announce Some New Painting (and Photography), David Hockney’s first exhibition of new paintings since 2009. Following The Arrival of Spring, it is Pace’s second presentation of Hockney’s work this year. The exhibition will be on view at 508 West 25th Street from November 8, 2014, through January 10, 2015. To accompany the exhibition, Pace will publish a catalogue featuring a new essay by critic Martin Gayford, author of A Bigger Message: Conversations with David Hockney (Thames & Hudson, 2011).
    
Some New Painting (and Photography) is Hockney’s first exhibition of works completed since his return to Los Angeles from England, where he spent a decade pictorially exploring the East Yorkshire landscape of his youth.
    
The works in the exhibition demonstrate Hockney’s longstanding dedication to painting and to depicting the human figure. Hockney made all of these works in his Los Angeles studio using live models—friends, colleagues and dancers. The exhibition includes seated portraits of individuals, a series of paintings that recalls Matisse’s masterpiece Dance and paintings of figures posing in his studio. Hockney moved his figures and objects around the studio. Playing with time and space, some figures appear more than once in the same painting.
    
The paintings highlight enduring interests and motifs in Hockney’s work: art history, pictorial space and portraiture. Martin Gayford wrote these paintings create a new kind of pictorial space: “Each figure contains within it multiple points of view, and so does the picture as a whole. Consequently, the viewer in turn feels in a different relation to every person in the picture, and the whole painting feels very different to one that contains just one angle of vision.”
    
The exhibition also includes five photographic drawings exhibited on high-definition screens. The works juxtapose elements he has drawn with photographs taken during sessions painting groups in his studio. Following his recent iPad drawings and video works, the photographic drawings continue Hockney’s use of technology to produce images.
    
Although each figure depicts someone specific, Hockney is less interested in representation or documentation. Rather he is interested in advancing his study of pictorial space and perspective. Art historian Kay Heymer wrote, “Hockney treats the people in his pictures as actors in a scheme reaching beyond biographical or psychological narration. He is on a continuous journey, his art testifying to what he has seen.”
    
David Hockney (b. 1937, Bradford, England) has produced some of the most iconic artworks of the twentieth and twenty-first centuries. Hockney’s ambitious and multifaceted approach to art has led him to embrace a range of methods and technologies, yet his work always remains rooted in and connected to painting. “I’m quite convinced painting can’t disappear because there’s nothing to replace it,” Hockney said. His forays into other media have continued, yet his work since 2005 has accounted for what Lawrence Weschler has called “the fiercest, most joyous, most sustained, and most prolific bout of painting of his entire career.”
    
Hockney received the gold medal for his last year at London’s Royal College of Art in 1962, the first of numerous accolades accrued in his career. Hockney had his first solo show at the age of 26. In 1970 Whitechapel Gallery, London, organized a travelling one-artist exhibition that was the first of several major museum shows worldwide. In 2012 Hockney was appointed a member of the Order of Merit by Queen Elizabeth II.
    
His paintings of the town of Bridlington were first shown at the Kunsthalle Würth in David Hockney: Just Nature (2009) and later that year at Pace in David Hockney: Paintings 2006 – 2009, the artist’s first New York exhibition of new work in twelve years. More recently, the Royal Academy of Art, London presented David Hockney: A Bigger Picture, a sweeping retrospective that traveled to the Guggenheim Bilbao and Museum Ludwig, Cologne (2012–13). In 2013, the Los Angeles County Museum of Art presented two exhibitions of the artist’s multichannel videos, and the de Young Museum, San Francisco, mounted David Hockney: A Bigger Exhibition, which included work from The Arrival of Spring, Pace’s 2014 exhibition of his videos and iPad drawings.
    
Hockney lives and works between Los Angeles and Yorkshire. This is his third exhibition with Pace.
    
    
时间：周二至周六 10:00 – 18:00
Office Hours: Tue to Sat 10AM-6PM
地址：北京市朝阳区酒仙桥路2号798艺术区创意广场
address：798 Art District, No.2 Jiuxianqiao Road,Chaoyang District, Beijing China