The shows at Annely Juda/L.A. Louver are based around what Hockney describes as ‘the void’ between the convention of perspective, the image surface and the viewer, and though his depiction of this perceptual disjunction may lack the poignancy of Barthes or the incisiveness of Sontag, it also comes with an understanding of the act of seeing along with an understanding of that act embodied in a practice which remains pointedly distinct from any other living artist.

Lest we forget: beyond the words and the technologies, Mr. Hockney still touches paint to canvas with a consummate brilliance that can only be sustained by the combined qualities of determination, practice and talent. This may of course be a statement of the blooming obvious, but even on a bad day, David Hockney remains one of the best painters England has ever exported.

But beyond sentiment and back to the present, Hockney’s latest show is fascinating for a number of reasons; essentially he is attempting to unravel, on our behalf, the conventions of seeing, painting and photography that have become tangled through the convergence of digital and analogue image-making.

- Neil Powell, July 3, 2015

Read the complete review via Wall Street International 

David Hockney: Painting and Photography will be on view at L.A. Louver 15 July - 19 September. 

IMAGES: (top/bottom) David Hockney, JP, JM, JW in the Studio (2015), Photographic drawing printed on paper, mounted on Dibond, ed of 25, 76.2 x 153 cm; David Hockney, Augustus and Perry Barringer, 16-17 & 21 June (2014), Acrylic on canvas, 91.4 x 121.9 cm  // © David Hockney, Photo Credit: Richard Schmidt