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<p>Jan. 2014 diptych 30”x40” 30”x40” acrylic on canvas</p>
Leon Qu, Glass, (2012)
Qu experiments with different reflective materials such as ice, water, mirror, and in this case glass.
Finding Vivian Maier - Official Movie Trailer (by VivianMaierFilm)
This is the official trailer for the documentary film, Finding Vivian Maier. COMING TO THEATERS IN MARCH 2014 A film unraveling the life of the now famous Vivian Maier and John Maloof’s journey to piece together Maier’s…
George Harrison at home (Upton Green), with his first guitar, an Egmond acoustic (“my crummy little £3 10s number,” to quote George from The Beatles Anthology)
"George got back in the habit of spending evenings practicing the guitar, and he stuck at it. His intense single-minded dedication, hour after hour, day after day, was evident to all who saw it. And when his determination wavered there was his mum to give him every encouragement." - The Beatles - All These Years: Tune In
"George tried to teach himself [the guitar when he was 14 years old]. But he wasn’t making much headway. ‘I’ll never learn this,’ he used to say.
I said, ‘You will, son, you will. Just keep at it.’ He kept at it till his fingers were bleeding. ‘You’ll do it, son, you’ll do it,’ I said to him.
I sat up till two or three in the morning. Every time he said, ‘I’ll never make it,’ I said, ‘You will, you will.’
I don’t know why, really, I encouraged him so much. He wanted to do it, so that was enough for me. I suppose at the back of my mind I remembered all the things I wanted to do as a girl, but nobody encouraged me.
So when it came to George, I helped all I could. […] But George never thought he was any good. He was always saying that, telling me about all the people who were so much better than he was. I told him he could be, if he stuck in.” - Louise Harrison, The Beatles authorized biography</blockquote
Adolph Gottlieb, Blues, 1962
In the late 1950s, Adolph Gottlieb started his “burst” paintings, a series of works that showed smooth, round areas of color above vigorous brushstrokes and splatters. This method brought together the two main currents of abstract expressionism: the soft tones of color field painting and the dramatic gestures of action painting. The black shape at the bottom of this image reflects the artist’s movement as he applied paint in one wide, twisting brushstroke. In contrast, the shades of blue above blend softly from light to dark, as if he used slower, more careful brushstrokes. Gottlieb played with opposites, painting pairs of shapes that evoke dualities such as night and day, sun and earth, and male and female (Alloway and MacNaughton, Adolph Gottlieb: A Retrospective, 1981).