Don’t let his placid English face fool you: David Hockney's art has been one revolution after another. However beautiful, most of what he’s done upends convention or expectation. As early as 1959-60 and 1961, with Erection and the Whitman-titled We Two Boys Together Clinging, he was boldly painting gay love. Once he saw southern California, he began to use color in more startling ways. He painted gay couples, such as Christopher Isherwood and Don Bachardy, exactly as he depicted straight couples, in 1968, when the rest of the world certainly didn't see them that way. His photomontages, or “joiners” primarily from 1970-1986, virtually reinvented how one could use a polaroid. He created wild stage sets for the Royal Court Theatre, Glyndebourne, La Scala, and the Met. And, in 2001, he proposed a shattering theory that the Old Masters did not paint freehand so much as follow images projected onto their canvas via camera obscura techniques. (This might solve the mystery of why details at the edges of their paintings are inexplicably blurry or out of focus.) Thirty years after his iconic A Bigger Splash, Hockney created A Bigger Grand Canyon, a series of 60 rectangular paintings fitted together to form one giant picture. Even more recent work has included painted installations illuminated with black light, as at the Smithsonian American Art Museum. Jack Hazan’s documentary captures every angle of Hockney's intense romance with Peter Schlesinger, who appears nude in his most famous pool pictures. To celebrate his 70th birthday in 2007, Hockney showed his recent paintings of his native Yorskhire, like the one above, at the Tate Britain in London. A newer passion is the Brushes app on iPad, with which he has drawn three covers for The New Yorker. Now we have Christopher Simon Sykes' David Hockney: The Biography [Kindle] to complement Lawrence Weschler's True to Life: Twenty-Five Years of Conversations with David Hockney [Kindle].