Just in case anyone’s interested, here’s what the original looks like.
I sent the fax to myself, something called a loopback fax. I do not actually own a fax machine (analog faxing). I pay for a fax service and can easily send the fax to myself. Also, my fax number is posted above. So send me your art if you’re equipped to do so.
For my birthday, Sandy accompanied me to the Benton Museum of Art on the campus of Pomona College, where we took in three interesting new exhibitions.
Roy Thurston Painting: Acrylic Polyurethane on Aluminum
The caption reads:
“(NY58) NEW YORK, MARCH 12-FIGHT CITY HALL ON SCHOOL BUS PLAN-Taking a page from civil rights demonstrators’ tactics, white parents march in New York’s City Hall Plaza today in protest against plans to bus children from neighborhood to other schools for the purpose of balancing racial enrollment. Some 15,000 braved the swirling March snowstorm. First they gathered at the Brooklyn Board of Education, then marched across the bridge to this show at City Hall, extreme right background. (APWirephoto) gv521019stoft1964 (SEE AP WIRE STORY)”
The caption reads:
“(CWP1) SAN FRANCISCO, July 13–THEY HELP TELL CONVENTION STORY TO NATION. This is a battery of Wirephoto transmitters in the Associated Press photo workroom at San Francisco’s Cow Palace—part of a vast complex of electronic equipment being used to carry the story of the Republican convention to the nation and the world. (AP Wirephoto) (rhs21605stf)1964. (See AP wire story by Wilbur Martin.)”
I topped off my little birthday celebration with a complementary latte at Starbucks.
Charcoal sketches of my twin brother. The first of a set I plan to do.
On my drawing table tonight, a watercolor of #BernieSanders]
Today, I ventured to the Huntington Library, only to be confronted by an enormous red modernist metal sculpture—an eyesore that immediately assaulted my sensibilities. One can scarcely fathom the logistical gymnastics involved in its creation and installation. The grounds remain marred by ceaseless construction, a Sisyphean endeavor that appears destined to persist indefinitely.
My pilgrimage was prompted by an exhibition of the works of Celia Paul, a British painter previously relegated to the periphery of my artistic awareness. Paul’s oeuvre is an introspective exploration of self-portraits, familial bonds, and the relentless, indifferent sea. Her mother’s death seems to haunt these canvases, with Paul claiming to sense her mother’s spirit in the ocean’s depths. Her art is suffused with an ineffable melancholy, a somberness that permeates each brushstroke, evoking an almost palpable sense of sorrow and introspection.
David Hockney’s double portrait “Henry Geldzahler and Christopher Scott” (1969) is a striking example of his mastery in capturing personal relationships and individual character through art. This portrait features Henry Geldzahler, the influential New York City-based curator, alongside his partner, painter Christopher Scott. The painting is celebrated for its intimate portrayal and its significant role in chronicling the lives of those within Hockney’s social circle during a transformative period in art and society.
The composition of the painting is both casual and deeply telling. Geldzahler is depicted seated on a lavish, red sofa, engrossed in what appears to be a thoughtful, perhaps even critical, examination of a book or a catalog. His posture and expression convey a sense of intellectual engagement and perhaps a touch of weariness. In contrast, Scott stands at the periphery of the canvas, somewhat distanced from Geldzahler, looking out towards the viewer with an expression that mixes contemplation with a hint of detachment. This spatial and emotional gap between the two figures subtly hints at the dynamics of their relationship.
Hockney’s use of color in this portrait is particularly noteworthy. The vibrant reds of the sofa and the muted background both highlight and contrast the figures, drawing attention to their expressions and the psychological space between them. His style, with clean, precise lines and a clarity of form, enhances the visual impact of the portrait, making the personal narrative strikingly vivid.
This double portrait not only documents a personal moment between Geldzahler and Scott but also serves as a reflection on the era it represents—an era characterized by a burgeoning openness in discussing and depicting homosexual relationships in art. Hockney’s work, through its honest and unapologetic portrayal of his friends and their lives, breaks down barriers and invites a deeper understanding of intimacy and identity. This painting remains a powerful testament to Hockney’s ability to weave complex human emotions into the fabric of visual art.