Etching is the Subject 1976 - 1977

Editor: This is David Hockney's "Etching is the Subject," created between 1976 and 1977, using etching, graphite, and pen. It feels like a very self-aware piece, almost a diagram of art-making. What do you see in this work? Curator: For me, it speaks to Hockney's broader project of deconstructing visual representation. It highlights the art-making process itself. How does the act of etching become the subject, and what does that tell us about Hockney's perception of art's role in society? Editor: So, it's not just *showing* the tools, but making the process the central focus? Curator: Precisely. Consider the sociopolitical climate of the late 70s. There's a growing interest in demystifying institutions and power structures. Hockney, through his art, joins that dialogue. By revealing the tools and techniques, he makes art less about inherent talent and more about conscious choices. Do you think there's a class critique embedded here? Editor: It's an interesting point. It does feel like it lowers the barrier. The messiness of the lines, the open space - it suggests anyone could pick up a pen. But is he also commenting on the limitations of representation itself, considering the abstraction present alongside the more representational elements? Curator: Absolutely. He juxtaposes different modes of depiction. This could signify a refusal to adhere to any singular artistic dogma, aligning him with a larger cultural shift towards pluralism and challenging the prevailing elitism in the art world. So, what do you make of the title in light of this? Editor: I think it’s intentionally direct. Hockney’s making a statement – the ‘how’ is just as, or more, important than the ‘what.’ I’ll definitely look at Hockney's other works with these thoughts in mind. Thanks! Curator: A new awareness for both of us, indeed! A fruitful interpretation.