A Bigger Book, TASCHEN’s SUMO-sized David Hockney monograph, is as spectacular in format as it is in scope. In it, the artist takes stock of more than 60 years of work, from his teenage days at the Bradford School of Art, through his breakthrough in 1960s Swinging London, life by Los Angeles pools in the 1970s, up to his recent extensive series of portraits, iPad drawings, and Yorkshire landscapes.

Never before has Hockney’s oeuvre been published on such an astonishing and immersive scale. As each page unfurls in a blaze of blues, pinks, greens, and oranges, we are spellbound both by the artist’s vibrancy as a colorist and his extraordinary sense of the conditions of the world that surrounds us. Through Hockney’s restless interrogation of perception and representation, we witness the mellow sheen of light on a muddy Yorkshire puddle, the ochre enormities of A Bigger Grand Canyon, the rustic majesty of Bigger Trees near Warter, and, of course, A Bigger Splash, with the exquisite sparkle of a turquoise pool beneath an iridescent California sky. These major paintings are joined by the artist’s drawings, photo-composites, multi-perspective collages, stage designs, multi-camera video works, and iPad drawings, each a panoply of looking and showing in different styles and media.

Hockney himself is present in every aspect of the publication. He collaborated closely through all production stages and conceived of this book as a purely visual survey of more than 450 works prefaced by a handwritten programmatic statement. As an artist who rarely looks back, the vast volume is as much his own personal review as it is a definitive record for art lovers all over the world. “I don’t tend to live in the past,” he comments, “Working on this book, I see quite how much I have done.” To add to the sumptuous portfolio, the monograph also includes an illustrated chronology of 680 pages, contextualizing Hockney’s art with drawings, graphic work, portrait photos, and text based on the artist’s own writings as well as contemporary reviews.

This limited Art Edition of A Bigger Book offers the most lavish presentation of Hockney’s monograph, with an exclusive ink-jet print of one of Hockney’s famed iPad drawings, printed under the artist’s supervision in his Los Angeles studio. The vibrant work shows a bunch of pink tulips in a vase and forms part of Hockney’s celebrated flower series on iPad and iPhone, testimony to his ongoing experimentation with artistic tools. “There’s magic in an iPad,” the artist comments, “It’s the same magic that’s in a pencil or pen or brushes.”

Art Edition (No. 251–500), each with the iPad drawing Untitled, 346 (2010) numbered and signed by David Hockney, and a Marc Newson bookstand. Also available as three other Art Editions, each with an alternative signed iPad drawing and a Marc Newson bookstand, and as a signed Collector's Edition (No. 1,001–10,000).

The editor and art director: Hans Werner Holzwarth is a book designer and editor specializing in contemporary art and photography. His TASCHEN publications include the Collector’s Editions Jeff Koons, Christopher Wool, Albert Oehlen, Neo Rauch, Ai Weiwei, Beatriz Milhazes, Julian Schnabel, Georg Baselitz, Glenn Brown, the David Hockney SUMO A Bigger Book, as well as monographs such as the XXL-sized Jean-Michel Basquiat.

The designer of the bookstand: Born in Sydney, Australia, Marc Newson studied jewelry and sculpture at Sydney College of the Arts before moving to Tokyo and Paris. Now living and working in the UK, Newson has become one of the world’s most accomplished designers. He has forged innovative partnerships with brands such as Louis Vuitton, Ferrari and Apple. He is the only designer represented by Gagosian, and his work is present in the collection of over 40 museums worldwide.

The artist: David Hockney (born July 9, 1937) is an English painter, draftsman, printmaker, stage designer, and photographer. He first emerged in the early 1960s during the height of British pop, then moved to Los Angeles in 1964, where he famously painted a series of swimming pool pictures. Alongside the classic genres of portraiture and landscape, he always kept evolving his art, using technologies such as Polaroids, photocopiers and fax machines, digital video, or the iPhone and iPad as tools for his painting. Since his first big survey exhibition, which in 1970 traveled Europe from the Whitechapel Gallery in London, he has been one of the most widely shown and popular artists of our time.