Waiting for Hockney Page #2

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...it's always something.

This is fine.

OK?

OK. All set?

Yep, I'm ready to go.

Around 2:
30, I expect

to get down to NYU.

Then, I expect to meet Mr.

Weschler around quarter to four.

I have exhibited once

before in New York,

I exhibited at the

Society of Illustrators.

Most people who would exhibit

at Society of Illustrators,

I think it would embolden

them and give them confidence

about their chances of

making it as an illustrator.

I exhibited at both of these shows and

basically concluded I

couldn't draw that well.

Some people call New York

the epicenter of the art world.

I've spent the last seven

years in as rural a place as,

as far removed from New York, it's the chicken

capital of the world where I live, you know.

It's the place where the man and the lady in Grant

Wood's 'American Gothic' painting really live.

Let's go to my office,

my place of employment.

This is, this is my studio.

I've always loved the windows. Every night,

the sunsets here are either a 9 or a 10.

Here, I... these are all just photos

of Marilyn that I would, would find helpful.

So I'd have, you know, neck

photos, nose photos, profile photos.

Then I went from the photos and

staged models to look like her.

And then models being myself.

I wanted to make it look as if she sat inches

away from me, giving me her complete cooperation.

To make her as alive as

she's been since she died.

Cause that's life drawing.

But how do you do that?

When you're going through the academic

experience of learning to draw the figure,

you become, sort of,

a slave to tradition.

For example, you're told

to see the hair as a shape.

Fair enough, that's what it is.

But it's also tens of thousands

of these little strands.

I'm the guy on the side saying,

"OK. I'm your cheerleader. I'm

the guy that's holding your hand."

So, I set out to draw

hair the way I see it,

the way we really see it.

Good. You're on the

right track. Keep going.

I would stare all day

at my hair in a mirror,

then I'd go pick up a

copy of Vogue', and...

then I'd come back and get my

mother or my sister to say, "Hey..."

"would you sit here a minute.

I just want to look at your hair."

I would stare all day at my hair in a mirror,

then I'd go pick up a copy of Vogue', and...

And then I'd go to my table and I'd have

a pencil in my hand and I'd be like...

And I'd go back and

look at some more hair.

I began to realize that I was about to

get involved with a

very big undertaking.

I need to put my full-time

existence into this,

or it will never get finished.

Some people are driven.

And some people have chauffeurs.

Larry and I discussed it and

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