VAN GOGH AND HOCKNEY -- A TWOFER

Brooding Vincent van Gogh. Sunny David Hockney. Two artists who could not be more different. Two artists separated by temperament and time, by style and technology. Yet both are united by their belief in the power of drawing.

Van Gogh's pen-and-ink drawing of a Saintes-Maries street [Metropolitan Museum of Art] For van Gogh, drawing was "the root of everything," New York Times reporter Carol Vogel writes today, quoting him in the lede of her story about an upcoming exhibition at the Metropolitan Museum of Art in New York. (The exhibition, which opens next Tuesday, includes 113 van Gogh drawings, among them a pen-and-ink drawing of a Saintes-Maries street, partial detail right, along with a painting he made from it and a pen-and-ink drawing he made of the painting.)

For David Hockney, "who believes that art must find its roots in drawing again," a 1999 MSNBC.com report by Yours Truly noted in the lede, "drawing-by-other-means -- digital imaging via computer, for example -- has already begun that rediscovery."

In a lecture at the time, Hockney said:

Hockney's Pearblossom Hwy., 11 - 18th April 1986, #1, a photographic collage of chromogenic prints [J. Paul Getty Museum]

What's interesting today is what is happening to photography now that the computer has come along. Actually, the hand is coming back into the camera. What is called manipulation of photographs, I call drawing. What’s really happening is that we are beginning to draw through the camera, through the lens.

The whole point is that we have moved into a period where the photograph has lost its veracity. You don’t necessarily have to believe anything that’s happening in a photograph. We did believe it for a certain length of time, or thought we did.

Now there’s no need to believe it at all, meaning that photography is in a sense back with drawing and painting, actually like drawing and painting. Nobody foresaw that happening.

Or as the Getty quotes him about his photocollage, "Pearblossom Hwy., 11 - 18th April 1986, #1," above left, to which he applied Cubist ideas for the imagery: "Most photographers think that the rules of perspective are built into the very nature of photography, that it is not possible to change it at all. For me, it was a long process realizing that this does not have to be the case."

October 11, 2005 9:04 AM |

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Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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