1. OtterBox Alpha Glass

    00:31

    from Janson Straub / Added

    27 Plays / / 0 Comments

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    • Bell Samsung “Awesome And Then Some”

      00:30

      from Chris Finn / Added

      144 Plays / / 0 Comments

      Production Company: Gentleman Scholar Creative Directors: William Campbell & Will Johnson Executive Producer: Lindsay Bodanza Head of Production: Rachel Kaminek Art Director: Heather Aquino CG Supervisor: Tim Hayward Producer: Tyler Locke 3D Modeler: Tim Hayward Designers: Chris Finn, Cecilia Lee, Jordan Lyle 3D Animators: Andy Kim, James Lane, Billy Maloney Lighter: Ryan Kirkwood Compositor: Ryan Kirkwood Editor: Brenden Mendez

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      • BOSE - "Listen For Yourself"

        01:19

        from Yuhei Ogawa / Added

        1,363 Plays / / 0 Comments

        For more info: www.yucutit.com

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        • Motionpoems - 'Working Order'

          02:00

          from Gentleman Scholar / Added

          194K Plays / / 86 Comments

          A lot of you have been asking for a "Making Of" - it's on the way, but in the meantime, please enjoy our "Faking Of" video for a quick peek into Gentleman Scholar! http://bit.ly/1o7YZ3i

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          • Lo Ch'ing at Michael Goedhuis

            01:51

            from GalleryLOG / Added

            Also available to view on GalleryLOG at gallerylog.com/michael-goedhuis--lo-ching.html On View: Lo Ch'ing at Michael Goedhuis Born in Qingdao in 1948, Lo Ch'ing is a poet, painter, and calligrapher. He moved to Taiwan in 1949. At an early age, Lo learned classical ink painting of the court tradition from the ink painting master Pu Ru, a member of the Manchu (Qing) imperial family. Subsequently he studied in the English Department of Fu Jen University, and received an MA degree in Comparative Literature from the University of Washington, Seattle, in 1974. Lo is well versed in classical Chinese literature and arts of the brush. He has also been a major innovator in ink painting, for which he has created a new visual vocabulary that deconstructs the classical forms of Chinese landscape by introducing into his compositions abstract and geometric elements as well as unexpected contemporary motifs. The titles of Lo's paintings often introduce "conversations with ancient Chinese masters," which link his otherwise contemporary treatments to a traditional context. For more information contact Michael Goedhuis on london@michaelgoedhuis.com or visit www.michaelgoedhuis.com

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            • ComforPedic iQ - 'Pill'

              00:16

              from Gentleman Scholar / Added

              2,008 Plays / / 1 Comment

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              • ComforPedic iQ - 'Never'

                00:16

                from Gentleman Scholar / Added

                3,155 Plays / / 4 Comments

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                • Wei Ligang at Michael Goedhuis

                  02:00

                  from GalleryLOG / Added

                  Also available to view on GalleryLOG at gallerylog.com/michael-goedhuis--wei-ligang.html On View: Wei Ligang at Michael Goedhuis Born in Datong, Shanxi, in 1964, Wei Ligang has been at the forefront of contemporary ink painting’s development from its beginning on the mainland, and he was one of the organizers of the June 1999 “Bashu Parade: ’99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the 20th Century” exhibition. In 1981, at the age of 17, Wei was admitted to Nankai University in Tianjin to study mathematics. He became the president of the calligraphy society at the university, which enabled him to connect with leading local calligraphers. After graduating in 1985, Wei was assigned to teach mathematics at the Teachers’ Training School in the industrial city of Taiyuan, but he succeeded in persuading the school to allow him to teach calligraphy in 1988. Wei Ligang moved to Beijing in 1995 to concentrate on his art. His training in mathematics has contributed to his abstract form of calligraphy. Many of his works are based on “Wei Squares,” a formula inspired by the square framework printed on practice paper for the characters that students copy repeatedly when learning calligraphy. Different from his gold-ground paintings, in which individual brushstrokes are not discernable, the Wei Square calligraphic paintings subtly combine painting and calligraphy: the density of ink ranges from solid black with dry brushstrokes to pale grays. Wei Ligang constantly deconstructs and re-forms the characters in his paintings while hinting at traditional script-forms (such as formal, running, or “grass” script), thus declaring his deep roots in Chinese culture. His works were included in the pioneering exhibition organized by Gordon Barrass at the British Museum in 2002. For more information contact Michael Goedhuis on london@michaelgoedhuis.com or visit www.michaelgoedhuis.com

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                  • Xie Aige at Michael Goedhuis

                    01:55

                    from GalleryLOG / Added

                    Also available to view on GalleryLOG at gallerylog.com/michael-goedhuis--xie-aige.html On View: Xie Aige at Michael Goedhuis Born in Hunan province in 1977, Xie Aige is one of the most promising woman sculptors in the younger generation. She graduated from Shanghai Fine Arts College and used to teach at the Cultural and Art Design Dept. in Shanghai Tongji University. She currently lives and works in Shanghai, China For more information contact Michael Goedhuis on london@michaelgoedhuis.com or visit www.michaelgoedhuis.com

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                    • China: Ink at Michael Goedhuis

                      02:11

                      from GalleryLOG / Added

                      Also available to view on GalleryLOG at http://gallerylog.com/michael-goedhuis--china-ink.html On View: Michael Goedhuis | China: Ink Dec 10—16, 2013, Mallett, 929 Madison Avenue, New York, NY 10021 Chinese ink artists are profoundly relevant to contemporary Chinese society but until recently have been largely neglected by curators and critics alike with prices therefore undervalued. They are important as representing the link between China's great past and the galloping pace towards her future. Their work incorporates a deep understanding of classical Chinese culture which they believe to be essential in their quest to create a new pictorial language which expresses the fundamentals of today's world. I believe therefore that the new generation of collectors in China and the diaspora will look at this area of the art-market as the most significant contemporary manifestation of Chinese civilization, with all that that will mean for price levels. Our view can be summarized in the following points: A. Ink painting and calligraphy is the supreme art of China. B. As such it has had enormous prestige not only for the educated elite but also for the Chinese in general. C. The Chinese are deeply sensitive to the loss of much of their cultural heritage extracted from them by the colonial powers in the 19th century and are now aggressive buyers. D. The exponential increase in wealth allied to an annual proliferation of new museums can only lead to an intensification of buying, and contemporary in China, as in the rest of the world, is... or will shortly be... cool. E. Ink art is the quintessential art-form of Chinese civilization and its contemporary version, rooted in works of unquestioned virtuosity and quality, will provide the new buyers with a foothold not only in what is fashionable but what is meaningful as a continuation of the vitality of Chinese culture. F. Finally leaving aside the all-important China factor, it is evident, as we see in the current museum programs and auction-house initiatives, that ink is attracting the attention of both in a big way, with all that implies for its new status in the art-world at large. For more information contact Michael Goedhuis on london@michaelgoedhuis.com or visit www.michaelgoedhuis.com

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