• David Hockney, Mr. and Mrs. Clark and Percy, 1970-71, acrylic paint on canvas, 84 1/4 x 120".

    David Hockney, Mr. and Mrs. Clark and Percy, 1970-71, acrylic paint on canvas, 84 1/4 x 120".

    David Hockney

    Museum of Fine Arts, Boston
    465 Huntington Avenue
    February 26–May 14, 2006

    National Portrait Gallery
    St. Martin's Place
    July 19, 2013–January 21, 2007

    Los Angeles County Museum of Art (LACMA)
    5905 Wilshire Boulevard
    June 11–September 4, 2006

    Curated by Sarah Howgate and Barbara Stern Shapiro

    One cannot trace the history of Pop art without visiting David Hockney's pastel-and-Polaroid-strewn studio. The British-born, Los Angeles-based artist helped pioneer the movement in the '06s, though his work—particularly his portraiture—is imbued with a warm intimacy distinct from the mass-market flash embraced by his Pop peers. Co-organized by London's National Portrait Gallery, this exhibition dives into Hockney's output, through 162 portraits spanning fifty years that show Hockney's relatives, lovers, and celebrity friends in their swimming pools and failing relationships. The eccentric painter himself, blond and bespectacld, appears in a section of self-portraits.

  • Frank Stella 1958

    Harvard Art Museums
    32 Quincy Street
    February 4–May 7, 2006

    Wexner Center for the Arts
    The Ohio State University 1871 North High Street
    September 9–December 31, 2006

    The Menil Collection
    1533 Sul Ross Street
    May 25–August 20, 2006

    Curated by Harry Cooper and Megan R. Luke

    In 1968, a decade into Stella's groundbreaking career, David Antin could only shake his head: “Frank Stella is also not the Frank Stella everybody thought he was.” The search for the real Stella continues with this exhibition, which gathers twenty works (many previously overlooked, even by the catalogue raisonné) from the months in 1958 leading up to the “Black Paintings”—when a freshly graduated Stella shared studio space with Carl Andre, attended lectures by an increasingly optical-minded Clement Greenberg, gawked at the sudden rise of Jasper Johns's “anti-art,” and concocted colorful, drooling, often funky paintings that both prepared for and violate the uniformity and order of the logolike canvases to come.

    Travels to the Menil Collection, Houston, May 25–Aug. 20; Wexner Center for the Arts, Columus, OH, Sept 9-Dec. 31.