在David Hockney的标志性画作The Bigger Splash（1967）创作半个世纪之后，英国艺术家正在庆祝他的80岁生日（他于1937年7月9日出生），这一画作改变了图画与时空之间的关系。在泰特举办的非凡展览，后来搬到了巴黎蓬皮杜艺术中心和纽约大都会博物馆。作为非传统的多产，Hockney闯入艺术界，同时仍然是一名学生，挑战形象的大炮：他重塑了波普艺术，拥抱同性恋等主题，人们在六十年代仍然感到不舒服，并以前所未有的方式进行文艺复兴,挑战透视方法的传统。该展览按时间顺序排列，展示绘画，照片和视频：将现实展平为抽象，生动和风格化的表面的媒体。Hockney利用日常物品，家庭环境，女性和男性构成的视觉曲目，展示了自第二次世界大战以来消费主义之间的两个主要西方大国 – 英国和美国的生活画面。轻浮，愿望，资本主义和媒体。多年来的一项研究使他开始进入写作领域，制作出一种流行的“图片史”书籍，其中Einaudi最近出版了意大利语翻译。与艺术评论家马丁•盖福德合作编辑，Hockney的历史几乎是异端，从拉斯科洞穴的史前绘画到iPad的虚拟图像延伸，跨越文化高低的传统界限，寻找意想不到的联系,不同时期，不同的地点和不同的表达方式之间：结果是万花筒般的世界表现形式。
Half a century after his iconic painting The Bigger Splash (1967), which revolutionized the relationship between pictorial time and space with a dive into a pool, the British artist is celebrating his eightieth birthday (he was born on July 9, 1937) with an extraordinary exhibition at the Tate Britain in London, which will later move to the Centre Pompidou in Paris and the Metropolitan Museum in New York. As prolific as he is unconventional, Hockney burst onto the art scene while still a student by challenging the canons of figuration: he reinvented Pop Art, embracing themes like homosexuality with which people were still uncomfortable in the sixties and taking an unprecedented approach to the Renaissance tradition of the perspective grid. The exhibition is organized chronologically and presents paintings, drawings, photographs and videos: media in which reality is flattened onto an abstract, vivid and stylized surface. Drawing on a visual repertoire made up of everyday objects, domestic settings, women and men, Hockney presents a picture of life in the two main Western powers—Britain and America—since the Second World War, between consumerism, frivolity, aspirations, capitalism and the media. A research that over the years has led him to venture into the field of writing too, producing books of a popular character like A History of Pictures, of which Einaudi has recently published an Italian translation. Compiled in collaboration with the art critic Martin Gayford, Hockney’s history is almost heretical, stretching as it does from the prehistoric drawings of the Lascaux Caves to the virtual icons of an iPad, crossing the traditional boundaries between high culture and low culture and finding unexpected connections between different periods, places and means of expression: the result is a kaleidoscopic representation of the world.