David Hockney on What’s Unphotographable
April 8th, 2008 · or link to (permalink)
David Hockney on What’s Unphotographable
A nice clip from The New Shock Of The New, which I assume is an update to the classic Robert Hughes series of the 70s. The original series would rank in my top 10 all time TV programs, so I am now scurrying around trying to find a complete version.
via Andy Jones

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3 responses so far »
Christian : Apr 9, 2008 at 5:46 am
Let us know if you find a PAL DVD - the BBC site says that only the book is available. Shame.
Joe : Apr 16, 2008 at 11:15 am
This was a good show. All the artists in this episode are the greatest modern and post modern artists (at least in the west) . But at the end of the episode Hughes goes on to say that we need ’slow’ and more thoughtful art which is complete bs. I can appreciate his point of view, but this opinion is coming from a well off old British white guy who probably rose to fame at a particular time with particular artists. I’m sure he has the time to appreciate these ’slow’ works of art but most people can’t afford that time or money to see or make them. Although he may be a respected art critic or whatever, I think these sorts television shows about art need a younger more up to date voice that is in tune with NEW artists as opposed to the art stars from the past. If this was the new shock of the new it should have been told by a newer voice.
Ken : Apr 18, 2008 at 9:08 pm
Dear Joe: The “old British white guy” is an old Australian white guy who knows more about art, apparently, than you do, if you don’t know that this “respected art critic or whatever” is one of the most lucid and forceful writers about, and in, the history of art. Sure, we all want to see more about young artists. But anyone who dismisses the “old” can’t even begin to understand what the phrase “the shock of the new” means; newbies need to know what they’re reacting against to provide truly fresh shock. Of course we want a “newer voice” than Hughes’ to talk about contemporary art, but why can’t both exist? Why negate the immense value and pleasure of even these few moments of seeing and hearing Hughes and Hockney discuss the latter’s still-vital work?
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