Los Angeles

David Hockney

L. A. Louver Gallery

With his Polaroid photomontages, David Hockney rescued Cubism from the living grave to which excessive reverence and often sullen reference were busily consigning it. Now, with the help of office copying machines, he has plucked the visions we have of Henri Matisse’s and Raoul Dufy’s sun-struck Nice out of nostalgia’s amber, and out of France, and transposed them to Southern California. The 35 “Home Made Prints” that were in this exhibition, in editions ranging from 25 to 60 photocopies, are irresistible for quite a lot of reasons.

First of all, they fling fistfuls of Tinker Bell dust into our “age of mechanical reproduction,” which many would have us believe a naturally somber affair. According to Hockney, that age, as it has been polemically defined, is not yet upon us, for (as he wrote in the catalogue introduction) “it’s still love and care that make a difference, even with machines.”

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