The literature on Hockney’s work has grown at a very brisk pace since the publication of the enlarged version of this book in 1996, in sheer quantity possibly eclipsing the material made available over the previous 35 years. The most significant of these books, catalogues and articles have been incorporated here.
Autobiographical Texts
Two texts by Hockney himself, David Hockney by David Hockney (London, 1976), later reissued as My Early Years, and That’s the Way I See It (London, 1993) remain the basic sources for any studies on him, to the extent that even those recent writers who claim to reject the artist’s words as an essential tool for interpretation have quoted heavily from them. The lengthy text in the first of these books, edited by Nikos Stangos from 25 hours of taped conversations, is factually informative, entertaining and revealing of the processes by which his work is made. The 434 illustrations provide the most complete survey of Hockney’s art between 1954 and 1975 available in a single volume. A selection of statements from this book accompanies 144 illustrations in Pictures by David Hockney (London, 1979), edited by Nikos Stangos and published in paperback only. That’s the Way I See It, once again deftly knitted together by Stangos from many hours of conversation over a period of about five years, effectively takes up the story where the first volume left off. The emphasis this time, however, is less on autobiographical anecdote and more on the theoretical explorations that have increasingly underpinned Hockney’s art. The result is a more professorial and speculative, at times rambling, account of the ideas that have shaped his varied production over a period of two decades; while lacking the immediate charm and intimacy of the first volume, only touching gently on the growing deafness and loss of friends to AIDS that have led to his increasing isolation and absorption in internalized dialogues, it demonstrates persuasively the depth and originality of thought of an artist who can no longer be dismissed by his detractors as lightweight.
Thames & Hudson publications
Thames & Hudson, who initiated all these books, has effectively become the artist’s British publisher, originating and collaborating with American publishers on a number of other volumes. Paper Pools, devoted to the single series of pictures executed in the summer of 1978, was the first of these in 1980. It was followed by Hockney Paints the Stage (in association with Abbeville Press, 1983), an impressively thorough account of the artist’s work inspired by or made for the theatre. Conceived to accompany the major touring exhibition devised by the Walker Art Center, Minneapolis, it was supplemented in 1985 with a booklet documenting the three-dimensional reconstructions of the sets produced for the show. The texts by the artist, the directors John Cox and John Dexter, and the exhibition’s organizer, Martin Friedman, tend towards anecdote but are rich in background detail. The artist’s photographic experiments beginning with the Polaroids of 1982 are the subject of David Hockney Cameraworks (in association with Alfred A. Knopf, Inc., 1984), a massive and lavishly illustrated volume with a stimulating and engaging text by Lawrence Weschler.
Thames & Hudson’s later publications have tended to concentrate more single-mindedly on specific aspects of Hockney’s work. Of the most specialized interest is China Diary (1982), an account in drawings and photographs of the artist’s three-week visit to China with Gregory Evans and the poet Stephen Spender, who supplied the accompanying text. An immaculately produced facsimile of a sketchbook from the summer of 1982, Martha’s Vineyard and other places, was published in 1986; a projected second volume in black and white, From Mustique to Mexico, never appeared. David Hockney: Faces (1987), a collection of full-page details from portrait drawings dating from 1966 to 1984, was designed by the artist and is a virtuoso demonstration of his use of photocopiers as printing machines of great versatility; the text by Marco Livingstone discusses general aspects of the artist’s portraiture and his approach to each of the sitters.
Thames & Hudson later published Hockney’s Pictures (2004), a thematically arranged collection of images, David Hockney’s Dog Days (1998), with a brief preface by the artist to the paintings and drawings he had made since 1993 of his beloved dachshunds, and (with Martin Gayford) A Bigger Message: Conversations with David Hockney (2011). Much more significantly, in 2001 Hockney published Secret Knowledge: Rediscovering the lost techniques of the Old Masters, the culmination of two years of solid research into the use of lens-based procedures by artists long before the invention of chemical photography in the 1830s; presenting paintings from the 15th century onwards as visual evidence of his thesis, with his own commentaries followed by a substantial section of correspondence with art historians and scientists, Hockney sought controversially to overturn many long-held assumptions and to rewrite the history of art from this very specific visual perspective. Although his thesis met with resistance from certain quarters of the art world, his engaging and often very persuasive visual arguments won a large readership in several languages for the book, which was republished in a revised and expanded edition in 2006.
Hockney’s ruminations about image-making were further expanded in a book written in the form of conversations with Martin Gayford, A History of Pictures: From the Cave to the Computer Screen, published in 2016.
Prints
As one of the undisputed masters of contemporary printmaking, Hockney has been the subject of particular attention. Three of his series of etchings have been published in reduced form as books: A Rake’s Progress (Lion and Unicorn Press, London, 1967); Six Fairy Tales from the Brothers Grimm (Petersburg Press in association with the Kasmin Gallery, London, 1970), later repackaged in a redesigned trade edition (Royal Academy of Arts, London, 2012); and The Blue Guitar (Petersburg Press, London, 1977). A small but illuminating pamphlet was produced by the Victoria and Albert Museum, London, for the exhibition of the Grimms’ Fairy Tales that they began touring in the early 1970s; this includes an informative and thought-provoking interview, ‘David Hockney on Print Making’. 18 Portraits, a small book with details of the large 1976 lithographs, was produced by Gemini G.E.L. to accompany the publication of the prints. Hockney’s graphic work of the late 1970s is the subject of a small but extremely well-illustrated book, David Hockney: 23 Lithographs 1978–1980 (Tyler Graphics Ltd, New York, 1980), while the Home Made Prints executed on office photocopiers are featured in a catalogue co-published in 1986 by the L.A. Louver Gallery, Los Angeles, and the Knoedler Gallery, London. A very substantial selection of Hockney’s fax drawings was gathered together in a spiral-bound catalogue, David Hockney Fax Dibujos, published in 1990 by the Centro Cultural Arte Contemporàneo, A.C., Mexico City, with a brief introductory essay by the artist printed in Spanish.
Among the more general studies in which Hockney’s work as a printmaker is discussed, the following are deserving of particular mention: Ruth E. Fine’s exhibition catalogue, Gemini G.E.L.:Art and collaboration (National Gallery of Art, Washington D.C., in association with Abbeville Press, New York, 1984); Pat Gilmour’s Ken Tyler-Master Printer and the American Print Renaissance (National Gallery of Australia, Canberra, 1986); Riva Castleman’s Seven Master Printmakers: Innovations in the Eighties (Museum of Modern Art, New York, 1991); and Jane Kinsman, The Kenneth Tyler Collection (National Gallery of Australia, Canberra, 2016).
The first catalogue of Hockney’s graphic work was published in 1968 by the Galerie Mikro, Berlin, in conjunction with the Petersburg Press: David Hockney: Oeuvrekatalog – Graphik. It contains an essay by Wibke von Bonin,’ Two-dimensionality and Space in Hockney’s Etchings’. This was superseded by the still indispensable and long out-of-print catalogue raisonné of Hockney’s editioned prints, David Hockney prints 1954–77, published in 1979 by the Midland Group, Nottingham, in association with the Scottish Arts Council and the Petersburg Press, which illustrates full-page the 218 prints published by Hockney up to the beginning of 1977. The introduction by Andrew Brighton remains essential reading.
Several partial surveys of Hockney’s graphic work are available: David Hockney: Etchings and Lithographs 1961–1986 (co-published by Thames & Hudson with Waddington Graphics, London, 1988), with a good selection of plates and an introductory text by Marco Livingstone; David Hockney: 25 Years of Printmaking (CCA Galleries and Berkeley Square Gallery, London, undated [1988]), with an introduction by Craig Hartley edited down from articles published by him in Print Quarterly (vol. V, numbers 3 and 4, 1988); and David Hockney Grafiek/Prints (Museum Boymans Van Beuningen, Rotterdam, 1992), an interesting selection (including some unpublished prints) enriched by Manfred Sellink’s thoughtful commentaries. Although various auction houses devoted sales to Hockney’s prints and posters between 1999 and 2011, the most substantial later additions to the literature on Hockney’s graphic work are an updated but incomplete catalogue raisonné, David Hockney: Prints 1954–1995 (Museum of Contemporary Art, Tokyo, 1996) and Hockney Printmaker (London: Scala, 2014), which accompanied a comprehensive exhibition at Dulwich Picture Gallery in London covering all periods of the artist’s production; it contains an essay by its curator, Richard Lloyd, and contributions by friends, colleagues and historians. A full catalogue raisonné of the prints is still badly needed.
Drawings
Hockney’s drawings have been much less thoroughly explored. Long out of print is 72 Drawings by David Hockney (Jonathan Cape, London, 1971), which reproduces ink and crayon drawings dating from 1963 to 1971. A small but beautifully produced book, David Hockney: dessins et gravures, was published by the Galerie Claude Bernard, Paris, in 1975, with a text by Marc Fumaroli, ‘Le portrait de l’artiste en jeune homme’.A substantial catalogue, Travels with Pen Pencil and Ink, was produced by Petersburg Press in 1978 to accompany an American touring exhibition, Hockney’s prints and drawings, which opened in Washington, D.C. and had its final showing in 1980 at the Tate Gallery; it contains an introduction by Edmund Pillsbury. The Albertina, Vienna, in the same year published David Hockney: Zeichnungen unci Druckgraphik, slightly less extravagant but equally useful in illustrating a number of heretofore unpublished drawings; the chronology and bibliography are both more comprehensive than usual, and there is a short, if confusing, preface by Peter Weiermair. David Hockney: A Drawing Retrospective (Thames & Hudson, London, 1995), accompanying an exhibition at the Hamburger Kunsthalle and other venues, carries texts by Ulrich Luckhardt and Paul Melia. The prospect of a catalogue raisonné of Hockney s prolific production of drawings seems remote and perhaps unrealizable, taking into account the number of drawings that have been sold or given away without first being documented.
Hockney’s later drawings have been included in the context of work in other media in the catalogues of many of his solo exhibitions in commercial galleries. The pencil drawings that he made in the late 1990s with the aid of a camera lucida were the subject of a small publication, Likeness: Recent Portrait Drawings by David Hockney, with an essay by Marco Livingstone, to accompany an exhibition in 2000 at the UCLA Hammer Museum in Los Angeles. A series of Hockney portraits made in 1999–2000 with the camera lucida were the subject of an essay by Marco Livingstone for the catalogue of the exhibition Encounters: New Art from Old (National Gallery, London, 2000). A facsimile edition of one of his sketchbooks of watercolour landscapes, A Yorkshire Sketchbook, was published by the Royal Academy of Arts, London (2012). Catalogues concentrating on particular bodies of early work were published for separate exhibitions: David Hockney: Egyptian Journeys (Palace of Arts, Cairo, 2002), with text by Marco Livingstone, documenting the drawings and watercolours made in that country by Hockney in 1963 and 1978, and David Hockney: Early Drawings (Offer Waterman, London, 2015).
Photography
The first publication devoted to the artist’s work with the camera was the 1982 catalogue of the exhibition at the Centre Pompidou, Paris, David Hockney photographe, with an introductory text by the artist; an English-language edition was brought out by Petersburg Press. Photographs by David Hockney (International Exhibitions Foundation, Washington D.C., 1986) usefully brings together an essay by Mark Haworth-Booth originally printed in Hockney’s Photographs (Arts Council of Great Britain, 1983) and the text of the artist’s November 1983 lecture, ‘On Photography’, first published by the André Emmerich Gallery Inc. A variant on the exhibition, Hockney fotografo (Caja de Pensiones, Madrid, 1985), contains an essay by Luis Revenga. Of special note is the December 1985 issue of Paris Vogue, which contains a 41-page full-colour section of the artist’s photographs produced for the magazine. Hockney on Photography: Conversations with Paul Joyce (Harmony Books, New York, and Jonathan Cape, London, 1988), while not as thorough in its coverage as the previously mentioned Cameraworks, is well produced and benefits from the artist’s quoted remarks.
A small catalogue published by David Hockney Studio, Los Angeles, in 1996, 20 Photographs, with a short introductory text by Hockney assisted by Richard Schmidt and an essay by Mark Glazebrook, featured two new groups of digital inkjet photographs. A much more substantial publication to accompany a major touring retrospective of Hockney’s camera-based work, Retrospective Photoworks David Hockney, edited by Reinhold Misselbeck for the exhibition he curated for the Museum Ludwig in Cologne, was published in separate German and English editions by Umschau/Braus, Heidelberg (undated, 1998); it includes essays by Misselbeck, Jochen Pötter, Christophe Blaser, Daniel Girardin and Anke Solbrig, and Misselbeck’s interview with Hockney.
Solo Exhibition Catalogues
Hockney has been the subject of numerous one-man shows, some of these accompanied by substantial catalogues, generally well illustrated and sometimes incorporating texts which until the 1990s were among the few pieces of critical writing available on the artist. The most important of these, David Hockney: A Retrospective, was published by Thames & Hudson in 1988 in association with the Los Angeles County Museum of Art for the exhibition that toured to the Metropolitan Museum of Art, New York, and the Tate Gallery in London. It contains essays by Henry Geldzahler, Christopher Knight, Gert Schiff, Anne Hoyt, Kenneth E. Silver and Lawrence Weschler, a brief chronology and the most comprehensive bibliography up to that date.
Of the earlier catalogues, the most thorough in its coverage is David Hockney: Paintings, prints and drawings 1960–70, published for the large retrospective held at the Whitechapel Gallery, London, in 1970. There is a foreword and an interview with the artist by Mark Glazebrook, as well as an attempt at a complete catalogue of known works since 1960. A corrected hardcover edition of this catalogue was published in 1970 by Lund Humphries, and a variation of it with additional essays was produced in the same year by the Kestner-Gesellschaft Hannover. In 1969 the Whitworth Art Gallery, Manchester, had produced a small catalogue with an introduction by Mario Amaya to accompany their more modest retrospective, Paintings and Prints by David Hockney. The Kunsthalle Bielefeld’s slender catalogue, David Hockney : Zeichnungen, Grafik, Gemälde, 1971, includes a short introduction by Günter Gercken and a separate section on Peter Schlesinger. A more substantial publication is David Hockney : Tableaux et Dessins, for the retrospective at the Musée des Arts Décoratifs, Paris, in 1974, with an introduction by Stephen Spender and an interview’ with Pierre Restany.
Among the later catalogues for solo exhibitions are those produced for two retrospectives entitled simply David Hockney, the first organized by Marco Livingstone for Art Life, Tokyo, in 1989, touring Japan; the second organized in 1992 by the Fundación juan March, Madrid, and shown first at the Palais des Beaux-Arts, Brussels, with an introductory text by Marco Livingstone printed only in Spanish and in French and Flemish respectively. Under the auspices of Art Life, Marco Livingstone also organized and wrote the catalogue for the more extensive Hockney in California, shown in 1994 at the Takashimaya Art Gallery, Tokyo, and three other venues in Japan; this was the first comprehensive examination of the subject through which the artist’s many shifts of style and approach can most vividly be charted. Another Japanese catalogue, Hockney’s Opera, was published in 1992 by the Mainichi Newspapers for a touring exhibition that opened at Bunkamura Museum of Art in Tokyo; it reproduces images not included in Hockney Paints the Stage and contains several essays including ‘Text to Image’ by Stephen Spender.
Other, smaller, catalogues since the 1990s include David Hockney: Paintings and Prints from 1960 (Tate Gallery Liverpool, 1993), text by Penelope Curtis; David Hockney: You Make the Picture. Paintings and prints 1982–1995 (Manchester City Art Gallery, 1996), text by Paul Melia; David Hockney 1960–1968: A Marriage of Styles (Nottingham Contemporary, 2009), essays by Alex Farquharson and Andrew Brighton; and publications focusing on specific paintings: Doll Boy (Hamburger Kunsthalle, 1991), introduction by Ulrich Luckhardt, in German only, and Mr and Mrs Clark and Percy (Tate Gallery, London, 1995), essay by Catherine Kinley Excellent catalogues too numerous to mention, some with extensive essays, have been published since the late 1980s by commercial galleries including the André Emmerich Gallery, New York; the L.A. Louver Gallery, Venice, CA; the Richard Gray Gallery, Chicago and New York; the Galerie Neuendorf, Frankfurt am Main; the William Hardie Gallery, Glasgow; the Nishimura Gallery, Tokyo; the 1853 Gallery, Saltaire, Yorkshire; Annely Juda Fine Art, London; Galerie Lelong, Paris; and Pace, New York.
The most vital later catalogues have been those published by museums, all with extensive essays, notably David Hockney: Espace/Paysage (Centre Georges Pompidou, Paris, 1999), essays by Didier Ottinger, Marco Livingstone, Gérard Wajcman and Kay Heymer; David Hockney: Dialogue avec Picasso (Musée Picasso, Paris, 1999), essays by Didier Ottinger, Jean Clair, Marc Fumaroli and Simon Faulkner; David Hockney: Exciting times are ahead (a general retrospective at the Kunst– und Ausstellungshalle Bonn der Bundesrepublik Deutschland, 2001), essays by Didier Ottinger, Paul Melia, Marco Livingstone, Kay Heymer and Caroline Hancock; David Hockney Portraits (National Portrait Gallery, London, 2006), essays by Marco Livingstone, Mark Glazebrook, Sarah Howgate, Edmund White and Barbara Stern Shapiro; David Hockney: Nur Natur/Only Nature (Kunsthalle Würth, Schwäbish Hall, 2009), essays by Christoph Becker, Marco Livingstone and Richard Cork and a biographical note by Ian Barker; David Hockney: A Bigger Picture (Royal Academy of Arts, London, 2012), essays by Marco Livingstone, Margaret Drabble, Tim Barringer, Xavier F. Salomon and Martin Gayford; David Hockney: A Bigger Exhibition (Fine Arts Museums of San Francisco, 2013), essays by Richard Benefield, Lawrence Weschler, Sarah Howgate and Hockney himself; David Hockney: 82 Portraits and 1 Still-Life, a catalogue to accompany the presentation at the Royal Academy of Arts, London, of an ambitious series of portraits painted in acrylic between 2013 and 2016, with an extended essay on Hockney’s portraiture by Tim Barringer; and the catalogue of a major exhibition of recent work including a full record of the iPhone and iPad drawings, David Hockney: Current, published by Thames & Hudson in association with the National Gallery of Victoria, Melbourne, with essays by Simon Maidment and others.
In 2016 Tate Britain published David Hockney to accompany the largest ever retrospective of Hockney’s art, focusing on his paintings, with essays by the exhibition’s curators, Chris Stephens and Andrew Wilson, and contributions by Ian Alteever, Meredith A. Brown, Martin Hammer, Helen Little, Marco Livingstone, David Alan Mellor and Didier Ottinger.
Group Exhibition Catalogues
A few early catalogues for group exhibitions are worth seeking out, if only in some cases for the occasional statement by the artist. Such is the case with Image in Progress, held at the Grabowski Gallery, London, in 1962, and The New Generation, held in 1964 at the Whitechapel Gallery, London. Informative texts by Anne Seymour can be found in the catalogues of Drawing towards Painting 2 (Arts Council of Great Britain, 1967) and Marks an a Canvas (Museum am Ostwall, Dortmund, 1969). Hockney’s early work is set in context in Pop Art in England: Beginnings of a New Figuration 1947–63 (Kunstverein Hamburg, 1976); Pop Art (Royal Academy of Arts, London, 1991); Marco Livingstone’s essay ‘Prototypes of Pop’ in Exhibition Road: Painters at the Royal College of Art (Phaidon, Oxford, in association with Christie’s and the Royal College of Art, London, 1988); and in historical survey exhibitions devoted to British Pop Art, Pop Art UK: British Pop Art 1956–1972 (Silvana Editoriale, Milan, 2004) with essays by its two curators, Marco Livingstone and Walter Guadagnini; British Pop (Museo de Bellas Artes, Bilbao, 2006), by the exhibition’s curator, Marco Livingstone; and When Britain went Pop. British Pop Art: The Early Years (Christie’s International Media Division, 2013), with essays by Marco Livingstone and Amanda Lo Iacono. Hockney was included in the catalogue of an exhibition at the LWL-Museum für Kunst und Kultur in Münster, Bare Life: From Bacon to Hockney. London Artists Painting from Life 1950–1980 (2014), edited by Catherine Lampert and Tanja Pirsig-Marshall.
Interviews and Statements
Hockney is one of the most interviewed artists alive today, and he has in addition produced highly informative written statements about his work, not least his two major books. His text for Looking at Pictures in a Book, the pocket-sized catalogue for his ‘Artist’s Eye’ exhibition at the National Gallery, London, in 1981, contains intriguing speculations on the functions of photographs and reproduction. In Hockney’s Picasso (Hanuman Books, Madras and New York, 1989), one of a series of books in a tiny format edited by Raymond Foye and Francesco Clemente, various brief essays dating from 1983 to 1989 are usefully brought together. Cambridge Opinion 37 (undated, January 1964) contains Hockney’s statement, ‘Paintings with two figures’, which was reprinted in the 1970 Whitechapel catalogue. ‘Beautiful or interesting’, a conversation between Hockney and Larry Rivers, appeared in Art and Literature 5 (undated, summer 1965) and was republished in edited form in John Russell and Suzi Gablik, Pop Art Redefined (Thames & Hudson, London, 1969). The journal of the Royal College of Art, Ark, published an article by Hockney, ‘The point is in actual fact…’ in 1967 (issue 41). A statement by Hockney concerning the Cavafy etchings and his proposal to illustrate Grimms’ fairy tales was published in the supplement to the December 1968 issue of Studio International.
Interviews with Hockney have appeared in Art and Artists, April 1970; in The Guardian, 16 May 1970; in Andy Warhol’s Interview issues 23 (July 1972) and 34 (July 1973); in the London Magazine, August–September 1973; in The Listener, 22 May 1975; in Street Life (London), 24 January–6 February 1976; in Peter Webb’s The Erotic Arts (Secker & Warburg, London, 1975); in Gay News, no. 100, August 1976; in the November and December 1977 issues of Art Monthly; and in Peter Fuller’s Beyond the Crisis in Art (Writers and Readers, London, 1980). Of particular interest is ‘David Hockney in conversation with R. B. Kitaj’, published in the January/February 1977 issue of The new review. Further statements by Hockney can be found in the Tate Gallery Report 1963–4; in Gay News, no. 101, August/September 1976 (a review of LorenzaTrucchi’s book on Francis Bacon); in The Artist by Himself: Self-Portraits from youth to old age, edited by Joan Kinnear (Granada Publishing Ltd, St Albans, Herts, 1980), which reprints letters written in 1958 by Hockney to his parents; and as the foreword to Jeffery Camp’s Draw (André Deutsch, London, 1981).
Hockney on Art’: conversations with Paul Joyce (Little, Brown & Co., London, 1999), an expanded version of the book on photography with Joyce listed earlier, was joined by Lawrence Weschler’s True to Life: twenty-five years of conversations with David Hockney (Berkeley: University of California Press, 2008). In Hockney’s My Yorkshire: Conversations with Marco Livingstone (Enitharmon Editions, London, 2011), he speaks at length specifically about his lifelong engagement with Yorkshire during a period in which he was intensely absorbed in painting the landscape he had known since childhood.
Articles and Reviews
In the bibliography included in the original edition of this book in 1981, it was claimed that reviews and articles about Hockney were at once too numerous and too slight to mention. While this sweeping statement remains essentially true, the annotated bibliography in the catalogue of the 1988 Los Angeles retrospective will lead the reader to the most useful items preceding that date. In addition, special reference should still be made to the long and extremely detailed profile on Hockney by Anthony Bailey, published in The NewYorker, 30 July 1979. Another lengthy article in The NewYorker, Lawrence Weschler’s ‘The Looking Glass’, in the 31 January 2000 issue, rehearsed some of the arguments about the use of optical instruments that Hockney was to publish in Secret Knowledge a year later.
Other Monographs on Hockney
Since the publication in 1981 of this book, the first monograph on Hockney’s work, there have been a number of other overviews. The first of these was a biography by Peter Webb, Portrait of David Hockney (Chatto and Windus, London, 1988). A much more comprehensive and reliable biography by Christopher Sykes was published in two volumes, subtitled A Rake’s Progress and A Pilgrim’s Progress, by Century Random House, London, in 2011 and 2014 respectively. There is a biographical element, too, to Hockney’s Portraits and People (Thames & Hudson, London, 2003), by Marco Livingstone and Kay Haymer, the first publication to address in depth this central human aspect of Hockney’s work.
There have been several picture books with good general introductory texts, including David Hockney by Paul Melia and Ulrich Luckhardt (Prestel, Munich and New York, 1994), Kenneth E. Silver’s David Hockney (Rizzoli, New York, 1994) and Peter Clothier’s David Hockney (Abbeville Press, New York, 1995). Melia went on to edit David Hockney (University of Manchester Press, 1995), a collection of essays of variable quality. While any of these may serve as a useful starting point for a reader unfamiliar with the detail of the artist’s development, disappointingly they all cover much the same ground. A picture book with a brief text in Japanese only, David Hockney, was published in the series Shinchosha’s Super Artists (Shinchosha, Tokyo, 1990). Two other picture books, Hockney Posters (Pavilion Books, London, 1994) and Off the Wall: Hockney Posters (Pavilion Books, London, 1994), document the exploitation of Hockney’s imagery in often decoratively pleasing posters. Hockney’s Alphabet: Drawings by David Hockney, with written contributions edited by Stephen Spender, a charmingly offhand collection of initials drawn by Hockney, was published in 1991 (Faber and Faber, London) to raise funds for the AIDS Crisis Trust.