Word: easel
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...special strengths of their performers. The audience will remain a major participant, singing along and hamming it up. "Most people know what to expect when they come in, but a few seem taken aback," says Taylor, 32. "It's like going into a museum and being given an easel." Right: the perfect museum for the '80s. The artworks come alive and parade their stuff, just like old times...
...first half of the 20th century. He played his role for Mexico, part ambassador and part genius loci, to the hilt. His energy had a titanic quality: he covered many acres of wall in Mexico and the U.S. with his murals and left behind a huge output of easel paintings, drawings and prints. Few 20th century artists have been as popular in their own societies. None is more relevant to the debate over "indigenous," or "national," art language as against "international style." A Marxist who read little Marx, he found a deep well of pictorial eloquence in the traditions...
...spoke or perspired. My style was born as children are born, in a moment . . . after a torturous pregnancy of 35 years." His idea of public art, though secular and materialist, turned out to possess an immense sacerdotal gravity: it could stand in for religious icons. Even a relatively small easel painting like Flower Day, 1925, is consciously hieratic in its symmetry, the stillness of its squat figures, the blazing epiphanic color and the clear identification of the Indian flower bearer, bowed under his angelic load of calla lilies, with a priest bowing before celebrants. And though dreadful excesses of cheap...
...earth. A self-proclaimed people's painter, he roams the streets on his battered motorcycle, white beard flying, paintbox strapped on his back, searching for subjects. He relishes getting caught up fitfully in the lives of the students, prostitutes, policemen and tourists who gather around his easel. He goes where the flow carries him, down to explore unused tunnels under Paris or off to join some young Americans on an outing in Spain. His paintings, when he manages to sell any, fetch only a few hundred dollars, yet somehow he supports a wife and five children, two of whom...
...things are happening on the other side of the frame, which is a virtual proscenium. It is exactly this removal that equipped him so well, at the outset, as a stage designer. As Friedman argues at some length in his text (and as a group of Hockney's easel paintings, included in the show, makes clear), theater has never been far from the core of his art. His shallow space quotes the conventions of the stage: flats, curtains, wings. There is a taste for exotic figures (red Indians, ancient Egyptians) and stage figures (conjurer, hypnotist, hierophant). Well before Hockney...