There’s a brief article over at The Atlantic about “Fresh Flowers,” a current show of David Hockney’s recent iPad and iPhone paintings. Using the popular painting app Brushes, Hockney is creating a new painting every few days, then electronically transmitting them to the exhibition space in Paris where they’re displayed on screens. I find the paintings themselves very unremarkable (some are quite bad, even) but I do think they’re interesting for a few reasons.
First, they imply an endorsement of the touch devices like the iPad as a tool for making art by a big (huge) name artist whose fame was forged in the pre-digital world. That credential matters to some people, because it demonstrates, however weakly, that this new and unfamiliar device is not just a passing fad. Hockney’s motivation for creating these paintings was presumably that he found the iPad interesting and worthwhile; he certainly doesn’t need it as a gimmick to burnish his already sterling reputation. When a leading light of the art world shows interest in a medium so young, it speaks volumes. To some people.
More telling I think is the kind of work that the artist decided to create. You can argue over their artistic merits all you want, but what strikes me about Hockney’s iPad paintings is that they’re surprisingly unimaginative emulations of another medium. The iPad is a full-fledged computing device capable of doing many, many different things. But reproducing the quality, texture and aesthetics of analog paper, canvas and paint seems to be one of the least interesting of them all, at least to me. Someone like David Hockney, you’d expect, would be able to show us entirely new worlds through drawing on a device like the iPad. Instead the works in “Fresh Flowers” are faint echoes of a world we already know very well. They’re pretty, but they’re boring.
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