Paul explaining pictures to Mie Kakigahara, Tokyo, Feb., 1983

1983

Object

Artist

David Hockney, British, English, 1937-
Born: Bedford, England
Work Locations: Los Angeles, CA

Locale

Country

Object Info

Object: photograph; collage
Not currently on view
Object ID: 2013.217

Medium/Technique

Chromogenic color print collage over silkscreen on board

Credit

Gift of Polly and Mark Addison

More Info

Dimensions

frame height: 35 3/4 in, 90.8050 cm; frame width: 45 9/16 in, 115.7288 cm; frame depth: 1 1/2 in, 3.8100 cm

Department

Photography

Known Provenance

Purchased November, 1984 from Petersburg Press by Polly and Mark Addison

Edition

#7

Extended Info

David Hockney began making “joiners” like this composition in the early 1980s. The photocollages, which Hockney initially made from Polaroid snapshots, challenge the objectivity of the camera’s single-point perspective. Hockney related the "joiners" to classical Cubism by in their shifting perspectives and their suggestions of elapsed—or collapsed—time.

Paul explaining pictures to Mie Kakagihara, Tokyo, Feb. 1983 is an important example of Hockney’s experimental photography. Dozens of individual snapshot photographs made over the span of half an hour or more depict an afternoon conversation about art. The man on the left picks things up and sets them down; he gestures with his hands, shifts his weight on the couch, removes and replaces his eyeglasses, and glances this way or that with changing concentration and focus. The woman on the right listens attentively, looks at the wall behind us, and occasionally looks down or away as her curiosity drifts elsewhere. Around them are the trappings of what appears to be a hotel room, with its lamps and ashtrays, stacks of slide carousels, and the artist’s invitation to luncheon with the British Ambassador. There is something cinematic in this assemblage of images, but they are discontinuous both in time and in vantage point; things leap out and recede like details in James Joyce’s Ulysses or fragments of memory in a Faulkner novel.