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In 1957 Lowry described a chance meeting which prompted him to paint this emotionally charged portrait of a young man: 'The head was done from my recollection of a young man I saw once in a Manchester park - a good while ago. He interested me very much at the time and stayed in my mind in a vague sort of way ever since. He gave me the impression that something had very badly gone wrong in his life tho' he gave no inkling of what it was in a fairly long conversation.'
Babel 2001 is a large-scale sculptural installation that takes the form of a circular tower made from hundreds of second-hand analogue radios that the artist has stacked in layers. The radios are tuned to a multitude of different stations and are adjusted to the minimum volume at which they are audible. Nevertheless, they compete with each other and create a cacophony of low, continuous sound, resulting in inaccessible information, voices or music.
Even when considered in isolation, Pool #9 bears a sense of unease: the ripples in the water suggest that someone has just jumped into the pool from the diving board, yet, strangely, nobody can be seen. Indeed, the way in which the image has been cropped, so as to eliminate contextual details, heightens a sense of the uncanny.
It's hard to predict what will inspire people the most when it comes to photography online. Sometimes the most specific concepts yield the most impressive results and, other times, something more open and vague, like the idea of texture, can produce the most incredible images. Texture was this month's DS Hashtag Challenge and I was blown away to see the over 5,000 images that were shared in less than a month. From stunning still-life photos of mushrooms and flowers to the tiniest cat whisker...
David Hockney's iconic image, 'A Bigger Splash', 1967. Archival quality, giclée reproduction from Tate’s collection of modern art. The Sixties are often seen as a time when Britain emerged from the greyness of the postwar years into a period of optimism, youthfulness and colour. Few works exemplify this perception better than Hockney’s depictions of Californian swimming pools. Even in the late 1960s, these still evoked a glamorous and exotic life of sun, wealth and leisure.
Mingus Deep Blues 1963 is a square portrait painting in oil on canvas. The face of a man – heavily cropped – is painted as if in photographic negative, in blues and white with red-brown areas at the left and right edges of the canvas that echo elements of the shape of the sitter’s instrument, the double bass.