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tv   [untitled]    December 3, 2013 6:00pm-6:31pm PST

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that makes the brick phone contribute to that. there's so many other cell phones out there but we encourage any marker of any cell phone to enable the bringing technology because if it's not worth stealing it makes the city >> good afternoon ladies and
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gentlemen. i'm the director of the fine arts in san francisco. with you hope you're as happy and inspired as we are staff of the museums by this magic recognition. we're happy to show 3 hundred and 98 works a plethora of media that works from oil to water to signify in his videos i've had large plantings. n this as large of love working with gregory the occur art of the exhibition. as you know the exhibition fills
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all of the perhaps exhibition groundless on this romance as well as 3 rooms on the first year. you'll see a great wall of 2 thousand indefinite hockney into the dispensation to post expression. this research was secretary knowledge rover the masters and it's shown publicly here for the first time. now this afternoon. i'm delighted tow introduce to you lawrence wiks letter and a great authority on mr. wexler to the stage thank you (clapping) thank you, everyone. so let me see if i can get this
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right (laughter) (clapping) menu e anyway, i was hoping to give you a little bit of a background to what you'll see. seems like a passion of david's that started in the 70s and really has a real breaking point in the early torres pr david hockney toward the mid 70s was doing one painting after another this painting looking at masterpieces looking at the reconstructionist of masterpieces.
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positive she an important operate of 3 people one of them has gotten up to the painting actually. this sort of thing, you know, famously cecelia and perrycy the cat those paintings one after another there's two or three portraits and he could have gotten into the sort of thing for the rest of his life and his dealers would have been popular but he's got a problem with the voice of one point prospective. he's using photographs a good deal he'll take photographs but photographs enforce a vice like
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one point prospective and, in fact, he suddenly begins to find there's a distortion he makes a join eras and calls them the photograph is wrong you can take three or four photographs to get it right as he says photograph i didn't say okay. if you look at a si closed-caption's for a second. he continues to do this but he hits a wall with the picture santa monica boulevard it's the have you across the street from miss santa monica studio and never shows this. he can't articulate is this one
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point prospective. he then tries other ways of trying to move prospective most noshl in this great, great painting mulling hauled drive i've contested it's a verb your eye goes for a drive and each corner you're seeing that. but around this point he has a detour and for someone who is suspicious of photograph highs, in fact, embarked on poly reside context and a whole series of thing. once again, we're now 1980, 81 and 82 pr he goes off on a huge
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passion he'd make one hundreds of those. you see there were all kinds of photograph i didn't you sanity see this stuff or was it would be like to have a photograph with multiple prospective it's a through back to cubing which was the major history of depeculiar in the last 5 hundred years it's a picture of photograph. those are navigate picasso like references this is cecil a the
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photographer bill bryant and his wife. they were looking at the picture itself coming into being. one of the things it took a long time to take it 60 seconds to develop that he would have to move around a grateful. in that imagine he has to move there's a great story of steven photographed by steve and steve saying are you still taking my picture david. there's the penn text camera i takes a lot of pictures and takes them to his local photo development place where hundreds and hundreds i think he made
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that one person a millionaire he would work on the collages and that would take hours. again, you have the photograph that wouldn't capture you have his own feet the detail of the grass, his mother and a place where she and ear mother and father used to date and this cemetery. a collapsed abby. this for example, one thing that's fascinating if you do it it will look like a monster it takes a frafrt to get the lines listened up but this is billy wilder lalt a cigar but you'll
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see what this is by locating you in this case him but what was striking it is precisely they don't look like monsters he pointed out when you spend time looking at a person you don't stare at them you look up and down but that is, in fact, what it looks like to stare at them. he don't two views one from standing still and one from walking the distance on oldly enough if i don't walk and look at this way you don't get the classic renaissance window as you're looking under a window you have to walk to get that view.
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he begins to play with notations of reserve prfkdz which is cubeism you walk about the desk i see it from all sides. if you look at it from this side perhaps that and that (laughter) and if i look at it from this side you see this and that that is cube itching and navigate translated that to his opinions. this is one he doesn't in the midst of a can lodge he drives down and parks his car he sees this view when he's up her and if there's a view there walked
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through the whole house christopher has the view and all of those are a single imagine that's trying to be true to life. you have parallel bloom highway to give you some idea of how this is much trueer to life this is the stand photograph it's this and that's what it is like to stop at a at the scene. you can imagine it take him days he stood on lards and, you know, walks on all over the place you about the result is his argument is something more true to life and some, some because a photographer pushes the life
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away from you. one of the things that happens in t in the pivot area of the 80s we need to get out of the straitjacket of that one point prospective but in television and billboards evidentially in our society is one point prospective and doesn't alleyway allow point advantages but at the same time and exactly the same years is the sunday up surge of aids. up here you have one of the polaroid can lodges this is his friend the model mcdonald which is what is known as aids and this is cecilia it has a teacup
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with a tea bag and she's shaking out the water of the tea bag. it seems the essence of the last years the boy wonder who had lived this life life in california the swimming pool and the naikd nudes and suddenly comes into this horrific period many of his friends are dying and this very, very dark which we all lived through especially in the city. but it is striking that hockneys
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response rather than to fall into desolation or to become indifferent is ero to be true to life to take all this misery. one of the things that's interesting he does a series many of you seen the two dogs standing. i've that often thought of them as a direct consequence of aids this is what you can't draw male nukdz this this position. many, many of the dogs paintings are almly terms of lust they're not pictures of lust but of
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love. and similarly at that point this is his attempt to break down 0 will prospective which he equalities with death. we find ways of breaking away of the death life grip that keeps us centered in a one point prospective. so the co-op with mortality that hit him around the age of 40 and wanting to explode out of a one point prospective shows up again and again. it's not just in painting this is around the period when we started to do his amazing opera sets. when you think about aids that was all over the place at that
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moment. but part of the point you have to make an illness that be seen in different places and so for the. he then as life moves on into the latter 80s or 90s he suffers the deaths from friends of aids but mr. taylor kinds of that an kraefk cancer and henry's life was taken over by a friend jonathan silver and for about 6 or seven years they were talking and then i dies of pancreatic cancer and david moves back to england. he stays in his town during the
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summers the town of britain ton and in his mom's 90s he finds her a place there he is driving back and forth to yoblg to see him on his death bed. this is the road on his way to york. n this is about a 2 minute section of the drive but if i see a video of the drive you'll see as you come into town you see this phone booth and you get down to the bottom and you see this house that way and you see this wall you never see that like this it's a compression. this monument you're on your way out of town all those fields
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there are imagines like this. for example, if you want to get to this point you see this horizon those horizons are piled on top of each other. this is more the case in this picture which is the final picture of the series this is the view of the hill. this is coming over the hill and you see the whole vista with. i often saw that as him overwhelming his impervious and the whole work opening up. this is in boston now you can feel your driving and your back wheels 0 or on the backside of
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the hill and your front wheels on on top of hill. he continues that sort of thing what's fascinating you can see the walk up to his studio in hollywood hills and you can tell that's downhill. the tree comes over i you can't take this with a camera now we're now coming into latest 90s. and famously he goes to see a show thought it was a retrospective and while he was standing in front of those drawings they were the kind of
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things that the arresting accuracy would get their drawings down and take them back. david was looking at the this and said i know this line. first of all, how was he able to do this. then he said i know this line i've seen that line and he saw it in andy warhol. when andy warhol don't this he does it with a slide projection and he's obviously tracing a slide but the tracing is important and david becomes convinced that's what angers him two he must be using a camera
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that was 13wi7b9d a few years earlier it's a prism and it allows you to see the subject of the drawing but see the paper above at the same time. he's not suggesting that anger was tracing it but let's look at the anger again. figuring out the eyelids and where the easier and mouth would be. he put it in quick markings and could go back and likewise with the clothes and so forth would go back to eyeballing it. as in this series of the drawings david did at the
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british museum of the guard. and then david starting saying it wasn't just angry it was cardio vanish go matures been using a less than or something to get the effects. he began to get an opening california look. he's been looking at this as the great wall it's the first time you'll see this. he asked himself he's an amazing die person he took art but not sophisticated art course but over the years he's got an circle library of art he installed in his studio in santa
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monica a color photocopyer and start to shingling it to the wall and 19 hundred to that side and when did that opening california look begin to happen? when do you go from the point of awkwardness it didn't have to have the chemical properties but you get to using less than or something. in the detail you see 13 thirty to fourteen 50 and it happened all of a sudden. you put on its glasses and suddenly you get this initialing up in the north and comes down south north is up and south is
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down and it was so striking that became convinced that within 10 years fourteen 35 suddenly all over europe it's as if they're able to do it seemingly without struggle before it was full of awkwardness but this has to do with a particular look as far as i am concerned stays in the event until 178940 and suddenly in 1839 a chemical photograph is invented so up until them whether it was kufrnd meters or
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obscured but suddenly it can be done on paper in 1940 people are saying paintings are deal because of the camera and suddenly they're looking expressionism and all the things you can't capture with the camera like cubeism and awkwa awkwardness returned. this is what you see rather than what a camera lets you think you see what you see. going back he begins to work with a man named charles who's a
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quantum thank you. open mellow scientists he don't the photograph he parenthetically is a motorcyclist clerk and when an article i wrote an article i got a call i was at the arguing him, i think you should come over and talk to a david. he and i went and talked to david and walked around the wall there were like generals reviewing their troops and david was a saying that carr vegetable was doing it you about i think it goes back here to van in case
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but i can't understand why van in case could do it without a less than. and await missing a beat charles said they had concave mirrors manufacture no historian knows this when it's dark inside our bathroom you can take the mirror upside down it doesn't have to be a good mirror. the kitchen sieve r will have it. it's basically that one there expect the reserve of it would be a concave mirror and they
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were showing up in 1840. charles is looking around and saying we need a picture we need a picture and it turns out this is described in detail that if you look carefully as what's george here this is in focus and out of focus again that would have to have been using a less than of a particular dimension and by the time he's finished he called that in science a proof. david started to do the same thing. he had people sit outside and has a concave mirror and doesn't say a picture upside down.
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this seemed like it was all a piece of this battle he was having against the death advice of one point prospective. he was trying to figure out where it came in the article and by the way, this was all miss characterized not all artists traditions every line he was saying this was a taste for the optical you wanted to do paintings that that was privileged as what reality looked like. and it will last for 4 hundred years and it will be - and there's absolutely masterpieces bus it's the


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