Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)

Travel and cultural exchange between the United Kingdom and the United States of America became a key feature of the 1960s, shaping the world view of many a British artist, curator, architect, writer, film-maker, and academic. Against that wider backdrop, I offer here a focused reading of David Hock...

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Main Author: Martin Hammer
Format: Article
Language:English
Published: Yale University 2017-04-01
Series:British Art Studies
Subjects:
Online Access:http://britishartstudies.ac.uk/issues/issue-index/issue-5/rocky-mountains
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author Martin Hammer
author_facet Martin Hammer
author_sort Martin Hammer
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description Travel and cultural exchange between the United Kingdom and the United States of America became a key feature of the 1960s, shaping the world view of many a British artist, curator, architect, writer, film-maker, and academic. Against that wider backdrop, I offer here a focused reading of David Hockney’s 1965 painting, Rocky Mountains and Tired Indians. With its faux-naive idiom and overt but quirkily un-modern American theme, the work conveys the artist’s singular take on what it felt like to be a Brit at large in the US, an environment at once wondrously exotic and at times strikingly banal. Close analysis discloses Hockney’s rich repertoire of artistic and literary allusions in Rocky Mountains, and the meanings and associations these may have encapsulated.
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spelling doaj.art-b990b04a2f2e46549897c92d371aa24a2022-12-22T02:26:37ZengYale UniversityBritish Art Studies2058-54622017-04-01510.17658/issn.2058-5462/issue-05/mhammerBetween a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)Martin Hammer0University of KentTravel and cultural exchange between the United Kingdom and the United States of America became a key feature of the 1960s, shaping the world view of many a British artist, curator, architect, writer, film-maker, and academic. Against that wider backdrop, I offer here a focused reading of David Hockney’s 1965 painting, Rocky Mountains and Tired Indians. With its faux-naive idiom and overt but quirkily un-modern American theme, the work conveys the artist’s singular take on what it felt like to be a Brit at large in the US, an environment at once wondrously exotic and at times strikingly banal. Close analysis discloses Hockney’s rich repertoire of artistic and literary allusions in Rocky Mountains, and the meanings and associations these may have encapsulated.http://britishartstudies.ac.uk/issues/issue-index/issue-5/rocky-mountainsDavid HockneyNative AmericanPop ArtLos AngelesCalifornia
spellingShingle Martin Hammer
Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)
British Art Studies
David Hockney
Native American
Pop Art
Los Angeles
California
title Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)
title_full Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)
title_fullStr Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)
title_full_unstemmed Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)
title_short Between a Rock and a Blue Chair: David Hockney’s Rocky Mountains and Tired Indians (1965)
title_sort between a rock and a blue chair david hockney s rocky mountains and tired indians 1965
topic David Hockney
Native American
Pop Art
Los Angeles
California
url http://britishartstudies.ac.uk/issues/issue-index/issue-5/rocky-mountains
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