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NASHVILLE, Tenn. — According to the Associated Press, authorities have found human remains in the vicinity of the explosion in downtown Nashville. 154

Money has never mattered that much to David Hockney, as long as he has enough to continue working. But equally, he's also always had a good memory for figures -- for the pounds, shillings and pence. As a student at London's Royal College of Art, he remembers selling a drawing to a friend and fellow student, the American painter Ron Kitaj, for a princely ￡5. It meant that he could buy cigarettes in packs of 20. He sold another early painting, "Adhesiveness" (1960), to photographer Cecil Beaton for ￡40. That meant he could begin planning to travel abroad.As it happens, Hockney also has a clear memory of what "Portrait of an Artist (Pool with Two Figures)" originally fetched shortly after he painted it. On Thursday, at a Christie's auction in New York, the painting was sold for .3 million, an auction record for a living artist. But back in 1972, his New York dealer sold it for just ,000.For Hockney, the memory is still bittersweet. He felt ripped off. Last year, at his studio in the Hollywood Hills, he told CNN, "I thought it was a lot of money at the time, but within six months, it was sold again for ,000."After the sale, Hockney's American dealer, Andre Emmerich, "realized the pictures (in the show) were underpriced. A lot had been underpriced." But by then, it was too late. And so, as is often the case in the art market, someone other than the artist made a swift and substantial profit.More is known about the creation of "Portrait of an Artist (Pool with Two Figures)" than virtually any other single Hockney painting. The 1974 biopic "A Bigger Splash" chronicled its creation, and Hockney himself wrote about the painting in detail in 1988's "David Hockney by David Hockney: My Early Years.""A Bigger Splash" was shot from 1971 to 1973 by British director Jack Hazan, who was given special access to Hockney, then living and working in London's Notting Hill, and his inner circle. A mix of fact and fiction, it centers on the painful unraveling of Hockney's five-year relationship with a young American artist, Peter Schlesinger.Hockney told CNN the painting was inspired by an accidental juxtaposition of "two photographs on my studio floor, one of the Peter and another of a swimmer, and they were just lying there and I put them together." In his 1988 memoir, "David Hockney by David Hockney: My Early Years," he wrote: "The idea of painting two figures in different styles appealed so much that I began the painting immediately."He worked on the picture for six solid months. The standing figure was always Peter Schlesinger. According to his official biographer, Christopher Simon Sykes, Hockney painted the swimmer first but then coated the canvas with a preparatory gesso, which prevented him from altering the position of the pool or the standing figure. It was a mistake.Hockney gradually realized the painting -- in particular, the angle of the swimming pool -- just wasn't right. He wrote that, "The figures never related to one another nor to the background. I changed the setting constantly from distant mountains to a claustrophobic wall and back again to mountains. I even tried a glass wall."Realizing the futility of his efforts, Hockney abandoned that effort and, reinvigorated, started the painting all over again. He chose a new setting, a pool by a house in the south of France that belonged to British film director Tony Richardson. He took two models with him: a photographer named John St. Clair and Mo McDermott, his studio assistant.He took hundreds of photos of the two. St. Clair, the submerged swimmer, dived into the pool in his white briefs so many times that he eventually cracked his head on the bottom and had to stop. McDermott acted as Schlesinger's stand-in, wearing his reddish pink jacket by the pool. Back in London, Hockney persuaded Schlesinger to pose for him early one morning in Hyde Park for yet more photos.Once back at his Notting Hill studio, Hockney painted for 18 hours a day on a canvas seven feet by 10. At one point, Hockney is filmed taking a Polaroid of the unfinished painting. At another moment, he paints in Schlesinger's brown hair with a long brush. "I must admit that I loved working on that picture, working with such intensity," he later told biographer Sykes. "It was marvelous doing it, really thrilling."While he spent six months of the first version, the final "Portrait of an Artist (Pool with Two Figures)" was finished in just two weeks, to meet a deadline for a New York show in May 1972. In "A Bigger Splash," Hockney, with his trademark bleached blond hair and black, owlish spectacles, stands in bright red braces and a bow tie, carefully checking out how the painting was hung and lit in the show. It was the star exhibit, perhaps an expression of Hockney's personal loss and his acceptance that his long affair with Schlesinger was finally over.But as we now know, all this wasn't without a sense of Hockney feeling cheated by what happened next. An American, apparently alerted by a British dealer, just came in off the street and bought it. The dealer then promptly took it to an art fair in Germany and sold it to a London collector for nearly three times the price. As he wrote in "My Early Years": "Within a year people had made far more on that picture than Kasmin (John Kasmin, his London dealer), Andre (Emmerich, his New York dealer) or I had. Considering the effort and trouble and everything that had gone into it, it seemed such a cheap thing to do."We can only imagine how Hockney will feel after this sale, when the painting he worked so hard on has sold for more than 5,000 times its original price. The current seller and the auction house will no doubt profit, but, as a Christie's spokesperson confirmed, "the artist will not be financially benefiting."Christie's hasn't named the seller, but he's believed to be British businessman Joe Lewis, who has famously collected postwar British art for some time.At 81, Lewis happens to be the same age as Hockney. He also has a net worth of billion. 6042

NASA says they are reexamining nicknames for distant objects in outer space such as planets, galaxies, and nebulae because they are insensitive and could be actively harmful.The Agency says the change is part of their commitment to diversity, equity, and inclusion.The unofficial names are sometimes used by members of the scientific community, the agency said. For example, the nickname for planetary nebula NGC 2392 was Eskimo nebula.NASA said in a press release that they will not use that nickname anymore.They said they will also do away with the name Siamese Twins Galaxy, which has been used to refer to a pair of spiral galaxies in the Virgo Galaxy Cluster."These nicknames and terms may have historical or cultural connotations that are objectionable or unwelcoming, and NASA is strongly committed to addressing them," said Stephen T. Shih, Associate Administrator for Diversity and Equal Opportunity at NASA Headquarters in the press release. "Science depends on diverse contributions, and benefits everyone, so this means we must make it inclusive.”NASA said they will work with experts of diversity, inclusion, and equity in the astronomical and physical sciences to "provide guidance and recommendations for other nicknames and terms for review." 1267

Nearly 2,000 people were confirmed to have died of complications from COVID-19 on Wednesday, according to a database kept by Johns Hopkins University. That's the most number of recorded deaths in a single day since early May.According to Johns Hopkins, there were 1,848 COVID-19 deaths recorded on Wednesday, the most deaths recorded in a single day since May 7, when 1,925 deaths were recorded. At that point in the pandemic, deaths linked to the virus were finally beginning to tick down after a wave of silent and uncontrolled spread in March and April.According to the COVID Tracking Project, the U.S. has been averaging about 1,200 deaths per day for the last week — a figure that has continued to rise since late October. The uptick in deaths per day has surpassed a spike in the summer months when the virus began to spread in some southern and western states. The COVID Tracking Project also reports that hospitalizations linked to the virus continued to be at their highest point at any point during the pandemic. The group reports that on Wednesday, more than 79,000 people across the country were in the hospital with the virus. The group also reports that 71% of hospitalizations across the country have occurred in the Midwest and South. Many rural hospitals in those regions are currently overwhelmed or at capacity. COVID-19 continues to spread at a frightening pace throughout the country. On Wednesday, more than 170,00 people were diagnosed with the virus, the second-most number of cases recorded in a single day. The record came last Friday when more than 177,000 cases were reported.In the month of November alone, more than 2.4 million Americans are confirmed to have contracted the virus.Throughout the pandemic, 11.5 million people in the U.S. have contracted COVID-19 and more than 250,000 have died — the most of any country throughout the world. 1889

NASHVILLE, Tenn. – A Nashville author shared a beautiful example of confronting racial bias.Carlos Whittaker says he formed a bias against his neighbor who has a large American flag draped on his front door and two white bunny statues in his front yard.In the four years the two have been neighbors, Whittaker says the neighbor in his 70s never acknowledged him, even when he waved, smiled or shouted “morning.”"My racial bias thought this old, white man who ignored me, with an American flag hanging in front of his door, in the Deep South, didn't like brown people," said Whittaker. "That's a bias that I had. We all have biases, right." On Monday, Whittaker says he spotted the man walk out his front door with a can of paint and he proceeded to paint one of his white bunnies black. The sight brought Whittaker to tears.“For the next 12 hours I was trying to come up with 1,000 other reasons why he painted that bunny black,” wrote Whittaker on Instagram. “Besides the reason my gut was telling me.”So, when Whittaker spotted his neighbor in his driveway the next day, he walked across the street to ask him why he painted the statue. The man said he was trying to “gently” show his support for the African America community, “with the motivation of what’s going on in the country.”According to Whittaker, the small act of kindness was his neighbor's way of saying black lives matter, because he couldn't go downtown to the protests. Whittaker proceeded to tell his neighbor that he’s trying to help his friends realize that we all can develop some form of racial bias against others.“There’s this thing called racial bias that I’m trying to help my friends understand that they have,” said Whittaker to the man. “Whereas, someone like me that travels full-time for a living will normally have a bias that says, ‘oh look it’s an older white gentleman with an American flag up on his door,’ that my bias automatically says, ‘he may not like me.’”Whittaker went on to express his gratitude for the neighbor’s kind act and then he apologized.“I just wanted to tell you that I’m so grateful and that I apologize if I ever assumed anything, because that’s one of the most beautiful things I’ve ever seen,” said Whittaker to the neighbor.Whittaker posted the touching moment with his neighbor to social media, encouraging others to have uncomfortable conversations and to admit their own biases.“Protests may change policy,” wrote Whitaker. “But conversations change communities.” 2486

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