‘He’s … making our North’: Affective engagements with place in David Hockney’s landscapes from ‘A Bigger Picture’

David Hockney is one of Britain’s most popular living artists. His one-man show ‘A Bigger Picture’ opened in Spring 2012 at the RCA to a record number of visitors. Hockney’s decision to illuminate a relatively unknown corner of Britain, the Wolds of East Yorkshire, prompted a mixed critical response. This article however, is focused on findings from an empirical study based on how people from Yorkshire respond to Hockney’s suite of works. Concerned to chart the source and fluidity of the agency the people of the study gave to their engagements with Hockney, the piece draws on Alfred’s Gell’s notion of ‘art-like relations’ as a means of identifying what people respond to in his landscapes. Concerned with representational depictions of place in Hockney’s work the piece shows that people used Hockney to transform pejorative associations of the North. The gallery and the home as consumption sites were considered using a more-than-representational approach; this enabled a consideration of affective, embodied and routine practices of response beyond the visual. The study shows that the home provided a more relaxed, intimate space for engagement, where framed prints enabled people to reclaim Hockney’s landscapes almost as a form of kinship.

https://www.participations.org/volume-13-issue-2/