Picturing David Hockney in the World
In the late 1960s, David Hockney embarked on a quest to construct and compose pictures that bring us, as viewers, into a different relation with the image and with the world. In this public lecture, Barbara Bolt draws on Hockney’s drawings of the 60s, his photomontages of the 70s, his photographic collages of the 80s and his recent photographic drawings to investigate how Hockney used the vexed relationship between painting and photography to enact his critique of one-point perspective.
For Hockney, the problem of one-point perspective is not just a pictorial issue that is of concern to artists and the art world: It is an existential and also a political question of how “we” get out of the vice-like grip of a single perspective and come to see the world differently and differentially.
Dr Barbara Bolt is a practising artist and art theorist and Professor in Contemporary Arts and Culture at the Victorian College of Arts at the University of Melbourne.
Her publications include two monographs Art Beyond Representation: The Performative Power of the Image (2004) and Heidegger Reframed: Interpreting Key Thinkers for the Arts (2011) and four co-edited publications, Material Inventions: Applying Creative Arts Research (2014), Carnal Knowledge: Towards a “New Materialism” through the Arts (2013), Practice as Research: Approaches to Creative Arts Enquiry (2007) and Sensorium: Aesthetics, Art, Life (2007).
Her research establishes a strong dialogue between practice and theory. Publications such as ‘Elegy to an Oz Republic: First Steps in a Ceremony of Invocation towards Reconciliation’ (2015), ‘After Motherwell, after Manet and after Goya: the performative power of imaging and the intensely present’ (2015), ‘Whose Joy?: Giotto, Yves Klein and neon blue’ (2011), ‘Unimaginable happenings: material movements in the plane of composition’ (2010), ‘Rhythm and the performative power of the index: lessons from Kathleen Petyarre’s paintings’ (2006), ‘Shedding light for the matter’ (2000) and ‘Impulsive practices: painting and the logic of sensation’ (1997) have emerged from this dialogue.