“Photography is OK,” he said to me that first day in 1982 — as he held in his hand a veritable deck of such “snaps” —Polaroids in that instance—gazing over an intricate photo collage he was in the midst of fashioning — “if you don’t mind looking at the world from the point of view of a paralyzed Cyclops, for a split second.” — David Hockney

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https://www.nytimes.com/2026/06/13/arts/design/david-hockney-lawrence-weschler-appreciation.html?unlocked_article_code=1.p1A.SzxY.pG7JahLKlbVj&smid=nytcore-ios-share

David Hockney and the Bliss of Not Standing Still

“As important as the boys and the pools and the light,” a memoirist writes, “the most important thing was becoming the driving.” It would inspire an obsession with moving focus into the future.

The New York Times

🧵Not standing still …

“…in 1980, in his wall-length masterpiece ‘Mulholland Drive: The Road to the Studio.’ It was a sweeping portrayal of the ridgetop road astride which he’d recently purchased an adjacent home and studio, and of the entire city over which it straddled.

In ‘Mulholland Drive,’ drive was a verb as Hockney invited his viewer on a ride across a moving focus, the succession of vantages afforded by each new curve successively laid out and zoomed past.”

https://www.thedavidhockneyfoundation.org/artwork/3812

The David Hockney Foundation: Mulholland Drive: The Road to the Studio

Mulholland Drive: The Road to the Studio, 1980 Acrylic on canvas 86 x 243" Los Angeles County Museum of Art (LACMA)