A splash is the fastest thing in the world—blink-and-it’s-gone. So how did David Hockney turn a half-second event into an entire philosophy of looking?

In this episode of Art Happens: The Divine Mess of Art History, James dives into Hockney’s lifelong obsession with vision: not “How accurate is it?” but “How does seeing feel?” We start with “A Bigger Splash” (1967)—that calm modern pool interrupted by a frozen white explosion—now in Tate Britain. From there, we jump to Hockney’s 1980s Polaroid “joiners,” where a scene becomes a stitched-together experience—more like memory than a single authoritative snapshot.

Then we zoom out to Hockney’s bigger provocation: perspective isn’t a law, it’s a habit. In Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, he argues that optics may have shaped how Old Masters built realism—and whether you buy every claim or not, the creative takeaway is liberating: if the tool stops helping you see, change the tool.

Finally, Hockney picks up the iPhone and iPad and does what he’s always done—makes new tech feel handmade. We visit Fleurs fraîches in Paris at Fondation Pierre Bergé – Yves Saint Laurent (Oct 20, 2010–Jan 30, 2011): glowing digital flowers presented in their original device format, like pocket-sized stained glass.

If you’ve ever worried about doing it the “right” way, this is your permission slip to ask a better question: Is this helping me see?

And for more creative fuel, hop over to Lattes & Art after this episode.

Send us a text

Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Follow & Subscribe to Art Happens
Stay inspired with new episodes every week! Don’t miss out on deep conversations with artists, curators, and creators exploring the vibrant world of contemporary art.

Connect with Us:

J-Squared Aterlier (J2Atelier)
🌐 Website: J2 Atelier
📸 Instagram: @J2Atelier
James William Moore
🌐 Website: James William Moore
📸 Instagram: @the_jwmartist

Leave a Review:
Love what you hear? Help us grow by leaving a review on your favorite podcast platform! Your feedback keeps us inspired. 🎙️☕

In this episode of Art Happens: The Divine Mess of Art History (presented by J-Squared Atelier), host James William Moore pulls back the curtain on the myth that art is “above politics.” Because history doesn’t back that up—when the world catches fire, artists don’t always whisper. Sometimes they make images so loud you can’t unsee them.

In Behind the Brush: When Art Gets Political, we follow political art as witness, protest, and pressure—starting with Francisco Goya’s The Third of May 1808, a painting that refuses to romanticize war and instead stares brutality straight in the face. Then we jump to the 1980s, where the Guerrilla Girls weaponize anonymity, humor, and hard data to expose inequality inside the museum itself—turning visibility into a battleground.

This episode breaks down what makes art political (hint: it’s not the style—it’s the intent), why institutions are never truly “neutral,” and how images can outlive their moment to ensure future generations can’t claim, “I didn’t know.”

Because the point isn’t to be approved.

The point is to be seen.

Send us a text

Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Follow & Subscribe to Art Happens
Stay inspired with new episodes every week! Don’t miss out on deep conversations with artists, curators, and creators exploring the vibrant world of contemporary art.

Connect with Us:

J-Squared Aterlier (J2Atelier)
🌐 Website: J2 Atelier
📸 Instagram: @J2Atelier
James William Moore
🌐 Website: James William Moore
📸 Instagram: @the_jwmartist

Leave a Review:
Love what you hear? Help us grow by leaving a review on your favorite podcast platform! Your feedback keeps us inspired. 🎙️☕

A portrait that refuses to sit still.

In this episode of Art Happens: The Divine Mess of Art History, host James William Moore opens the case file on Jan van Eyck’s Arnolfini Portrait (1434)—a painting where the real plot twist isn’t the couple… it’s the mirror. A convex glass “eye” on the back wall reflects two unexpected figures in the doorway, pulling us into the room and turning a simple portrait into a staged moment, a legal-looking document, and a psychological trap.

We examine the painting’s most suspicious “clues”—the single burning candle, abandoned shoes, watchful dog, expensive oranges, prayer beads, and the mirror ringed with tiny Passion scenes—then follow the scholarly debate: wedding scene, betrothal, memorial, status flex… or a deliberate mash-up designed to multiply meaning.

Van Eyck’s famous inscription—“Jan van Eyck was here”—lands less like a signature and more like witness testimony. And once you notice that, the painting stops being something you look at… and becomes something that looks back.

Send us a text

Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Follow & Subscribe to Art Happens
Stay inspired with new episodes every week! Don’t miss out on deep conversations with artists, curators, and creators exploring the vibrant world of contemporary art.

Connect with Us:

J-Squared Aterlier (J2Atelier)
🌐 Website: J2 Atelier
📸 Instagram: @J2Atelier
James William Moore
🌐 Website: James William Moore
📸 Instagram: @the_jwmartist

Leave a Review:
Love what you hear? Help us grow by leaving a review on your favorite podcast platform! Your feedback keeps us inspired. 🎙️☕