if I remember correctly Stephen said at one point they had planned or storyline where this french gallerist would find Dizzee's works and be all impressed, wanting to create exhibition for his art and that's how Dizzee would make his first mark on the artist world! I mean we can imagine this happening now since they weren't able to do it due to time limits and stuff!
omg i never heard of none of that !!!! that is truly the most blessed timeline !!!! this is canon now thank you
If I want to be a successful artist in my lifetime I have to pander to gallerists and curators and worry about making sellable work while also spending little money bc I’ve been poor literally my entire life and I thought teaching would be a fulfilling career in which I could connect with other artists and also have the emotional energy leftover to make work but it’s increasingly more difficult to get anything but low paying adjunct jobs so until I find a teaching job I’ll have to work at a grocery store or something and won’t ever have the actual energy to produce work bc of my depression and the immense amount of emotional labor involved when working in the service industry so I can sense a deep depression looming is all I’m saying
Jay Z, photographed while filming the performance art piece for his track “Picasso Baby” at the PACE Gallery in New York City by Brian Finke on July 10, 2013. The 11-minute film would premiere on HBO on August 2, 2013. It was nominated for a Grammy Award for “Best Music Video,” but lost to Jay and Justin Timberlake’s collaboration “Suit & Tie.”
Directed by Mark Romanek, the film was inspired by the work of performance artist Marina Abramović—in particular her 2010 installation “The Artist Is Present.” Jay performed the track for six hours, with breaks only for hydration and crowd changes. The crowd—which was intended to display a cross-section of the New York art and cultural worlds—formed a circle around Jay, watching him move within the room, interacting with audience members or those lucky enough to earn a seat on the wooden bench set in the middle.
Attendees at the filming included Pablo Picasso’s granddaughter and art historian Diana Widmaier Picasso,
Abramović herself, performance art champion
Roselee Goldberg, artists George Condo, Lawrence Weiner, Fred Wilson,
Andres Serrano, Marcel Dzama,
and Marilyn Minter, art
critic Jerry Saltz, fashion designer Jenna Lyons, art power couple gallerist Bill Powers and fashion designer Cynthia Rowley, hip hop legend Fab 5 Freddy, director and producer Judd Apaptow,
Taraji P. Henson, Michael K. Williams, Rosie Perez, Alan Cumming and Adam Driver, dancer Storyboard P, rapper Wale, and many other representatives from galleries and the sales side of fine art.
“I had no idea what I was going to do,” Abramović said afterward. “I just came here and felt the energy. I love his music, because it’s social issues, it’s political, and really goes to everybody’s heart. It’s so good. It’s like a volcano.” She would later accuse Hov of using her for the piece, upset that her institute hadn’t received a donation from him. The film’s producer Jeanne Greenberg Rohatyn came forward and advised that Abramović’s claims were unfounded, quoting a receipt from the substantial donation Jay Z had indeed made to the Marina Abramović Institute. The artist and the institute then released an official apology to Jay Z, saying they were misinformed and would be taking appropriate actions to reconcile the matter.
After living in a loft within a converted industrial space, Italian art-gallery owner Alessandra Minini wanted a bourgeois style apartment, typical of the early 900 buildings in Milan. So her friend, architect Luciano Giorgi, refurbished and gave new modernity to this stylish classic flat, using grey and black tones for the walls and the wooden floor, and vertical neon lights to play down the presence of historic chandeliers, Venini pieces and Sarfatti brass, while evoking the feel of an art gallery.
A moving biography of the late Leonard Nimoy for children
Fascinating: The Life of Leonard Nimoy by Richard Michelson, Edel Rodriguez (Illustrator)
Knopf Books for Young Readers
2016, 40 pages, 8.9 x 0.3 x 11.3 inches, Hardcover
$12 Buy on Amazon
Anyone who remembers Star Trek II: The Wrath of Khan can’t help but be at least a little choked up recalling the scene in which Spock sacrifices himself for his crew members. He regards Kirk with compassion before quietly delivering his epitaph, “I have been, and always will be, your friend. Live long and prosper.” Author Rich Michelson was fortunate enough to have his own friendship with Leonard Nimoy. Nimoy was a skilled photographer and Michelson was his gallerist, and from that professional relationship the two men became friends.
Fascinating takes a look at Nimoy’s life from his boyhood with his Jewish immigrant family on Boston’s West End, his move to Hollywood and his rise to stardom after claiming the iconic role that he would later eschew, only to embrace once more. The book is clearly a labor of love with the emphasis on love. Nimoy is portrayed here as an outsider with an expansive heart, whose boundless empathy for his friends, family and neighbors ultimately extended to his groundbreaking portrayal of Mr. Spock.
Michelson delivers a sensitive portrait of Nimoy as a struggling outsider, whether as a boy acclimating to his life in America and overcoming his first bout of stage fright or as an emerging actor discovering his voice. These experiences ultimately informed his portrayal of Spock, the alien whom everyone could relate to. Michelson’s book stands as a personal, open-hearted tribute to a man who has been, and always will be, our friend.
Gallerist Nina Yashar’s Milanese apartment is curated just as tastefully as her design gallery ‘Nilufar’, where works by masters like Carlo Mollino, Ettore Sottsass, Piero Fornasetti and Giò Ponti are displayed alongside pieces by more contemporary, cutting-edge artists Yashar has discovered, such as Martino Gamper and Bethan Laura Wood. Photo: Andrea Ferrari.
The gallery opened a month later than planned but in the extra time given, Lucas was able to help the gallerist find a few more pieces that were authentic, very valuable, and – even more importantly in Lucas’s opinion – special. Without a deadline hanging over the heads of everyone involved with putting the exhibit together, they were able to value quality over the pace in which things came together and present a wonderful collection of theater material to be viewed for the very first time on the gallery’s opening night. It was busy but this was no surprise, Manhattan was home to Broadway which hosted some of the biggest theater productions in the world so there was an abundance of people who loved the craft. Standing near a tall table in a finely tailored suit, minding his own business and observing the observers, he was nearly startled upon the realization that someone was standing by him near the tray of bubbly. “Thank you for coming,” Lucas said with a kind smile while reaching for one of the flutes on the table, offering it to the person in his company. “Would you like some champagne? My nerves have got me nearly polishing off the entire tray by myself.”
Two Russian Maidens (1920). Natalia Sergeevna Goncharova (Russian, 1881-1962). Pencil, watercolour and gouache on paper.
In 1914, Goncharova moved to Paris. Invited by gallerist and friend Sergei Diaghilev, she was introduced to the world of stage and costume design. Two Russian Maidens was used as for a poster for J. Povolozky & Cie., c. early 1920s.
Tank Girl was my first comic. I was around 12 or 13 years old and I
remember being totally captivated by her brazen IDGAF-ness. It seemed very important to me at a time when
I was just starting to go through that rite of passage into womanhood, the one
where grown men catcall you on the street and make you feel scared and shrink
into yourself. Tank Girl was not
scared. Tank Girl took up space. Tank Girl wore a bra top if she felt like it and
just go ahead, I dare you to catcall her.
I’ll always appreciate my mom’s endless patience with my adolescent attempts
to reinvent my wardrobe, and in many ways my attitude, in Tank Girl’s image (maybe
not with bra tops, but still…).
All of this is to say, I basically wanted to be Tank
Girl. So it’s kind of crazy that 2 Girls
1 Tank is about an art gallerist named Mags who acquires Tank Girl’s tank and
decides to become Tank Girl. (Before I worked at comiXology, I was an art
historian. IS THIS ABOUT ME? Signs point to yes.)
I really like Brett Parson’s art (he also worked on 21st
Century Tank Girl). I know, I know, you
love Jamie Hewlett. I know. Me, too. But Parson does an excellent job
keeping the anarchist vibe of Hewlett’s Tank Girl in play while giving it his
own style. Stubborn Tank Girl purists should
still check this book out, though. Alan
Martin’s writing is just what you want in a Tank Girl book. It’s good, smart, vulgar fun, with lots of action
and irreverence and friendship. Or at
least, I’m hoping things end with Tank Girl and Mags becoming BFFs.
Vasiliou is a Digital Editor at comiXology.
She drives an SUV, which is not quite a tank but pretty close plus she
swears a lot so maybe there is still hope for her becoming Tank Girl…?
Well, someone told me that today is the international kissing day. I don’t know if it’s true, but certainly this information gave me inspiration… -^.^-
This is the first Enjoltaire kiss that I post here and I decided to draw something special. I imagined an ordinary leaving kiss for them, ‘cause, well… if your husband is the most beautiful and the hottest man in all of France - or maybe in the world, eheh! - you probably have to kiss him everytime before leaving to work… possibly with passion, if your name is Grantaire! ;)
(A little note: do you see the little R that Enjolras has tatooed on his neck? Well, under Enjolras’s hand, Grantaire has a little E - and obviously Grantaire was the first to tatooed it! :3)
Alexander Iolas or Alexandre Iolas (25 March 1907 – 8 June 1987) was a Greek art gallerist and collector. Born Constantine Koutsoudis (Κωνσταντίνος Κουτσούδης) in Alexandria, Egypt to Greek parents, he went to Berlin in 1924 as a pianist. Soon, he moved to Paris to study ballet. There, he socialized with artists such as Jean Cocteau, Giorgio de Chirico, Georges Braque, Pablo Picasso, Man Ray, Rene Magritte and Max Ernst and bought his first works of art.
In 1944 he gave up ballet and got involved in the art world. He opened galleries in New York, Paris, Milan, Madrid and Geneva. In his galleries, he represented artists such as Andy Warhol, René Magritte, Roberto Matta, Ed Ruscha, Jean Tinguely, Joseph Cornell, Yves Klein, Jannis Kounellis, Takis, Victor Brauner, Jules Olitski, and Niki de Saint-Phalle. In fact, he was the one who organized Warhol’s first and last shows (during the artist’s life) in New York. Known for his exclusive representation of the major European Surrealists in the United States- primarily Max Ernst and René Magritte - Alexander Iolas helped to form more than one important collection.
Alexander Iolas built between 1951-1972 a 1,300 square meter (14,000 sq. ft) Attica-stylle villa on a 7000 square meter lot in Agia Paraskevi, a suburb of Athens. It was designed and built by the Greek architect Dimitris Pikionis, along with artist Yiannis Tsarouhis. There, he started exhibiting his collection, together with ancient Greek and Roman antiquities.
In his last years, he tried to donate the villa along with his whole collection to the Greek state, however the government at that time though denied the deal. Iolas died in 1987 and his villa became property of his heirs who sold it to a real estate developer. The construction plans however, were held up by the Ministry of Culture that marked it as a site of Greek cultural heritage in 1998 and promised to acquire the villa from its owners. Since then, no progress has been made and the property has remained abandoned.
The villa nowadays has been heavily vandalized and most of his collection of art works have been stolen or dispersed. A part of the collection had been already donated by Iolas himself to the Macedonian Museum of Contemporary Art. The only items that remain in the villa today are artefacts too heavy to take away, like roman columns and other marble vanities.
On 25 May 2017, Sotheby’s London will offer at auction a selection of paintings, sculpture, furniture, prints and jewellery formerly in the collection of Alexander Iolas, the twentieth-century art dealer whose legacy is credited with defining the careers of the leading artists he championed. From mounting Andy Warhol’s first and last gallery exhibitions and introducing an American audience to Surrealism, to shaping the careers and movements of those with whom he forged personal and lasting friendships, Iolas played a vital role in the post-war art world. Over 150 lots will be offered for sale, with estimates ranging from £100 to £150,000.
Georgina Gold, Senior Director, Sotheby’s Impressionist & Modern Art Department, London: “In many ways, Alexander Iolas lived a surreal life, and in constantly looking to the future and to the past, he was a Janus-like figure whose imprint on art history should not be underestimated.”
Iolas nurtured connections among artists, gallerists and collectors through his international network of galleries in New York, Paris, Milan, Geneva and Madrid, and collaborations in Rome and Athens. He was a renowned perfectionist and his attention to detail when staging exhibitions was fastidious. Each show was much like a performance for him, a fitting analogy considering his early years as a ballet dancer who toured internationally with Theodora Roosevelt and the Grand Ballet du Marquis de Cuevas.
“Each exhibition is like the premiere performance of a ballet,” he told the art historian Maurice Rheims in 1965. “I await the audience, I perform. I don’t consider the gallery as a commercial occupation. It’s a purely artistic occupation. An exhibition has to be a ballet, decorated by Yves Klein, by Max Ernst. It’s a show in which the audience members are the dancers, and the scenery is made by the painter.” Iolas was born in Alexandria, Egypt, in 1907, into a family of wealthy Greek cotton merchants. Although his parents wanted him to enter the family firm, Iolas defied familial expectations, recalling later that, “they could not take me away from the arts. I didn’t want to become a cotton dealer, not even a rich cotton dealer.”
During his time as a celebrated dancer on the ballet circuit, he developed his eye for art. An encounter in Paris with a painting by Giorgio de Chirico hanging in a gallery window was transformative, in effect sealing his career path as an art dealer. “I was drawn to the picture as if by magic,” he recalled.
Retiring from dance in 1944, Iolas was active in his career as a dealer for 35 years, between 1945 and 1980. He served as the director of the Hugo Gallery in New York for a decade before going on to open his eponymous galleries around the world. Unfairly overlooked in the roster of influential twentiethcentury art dealers, including Ileana Sonnabend and Leo Castelli, in recent years Iolas has been hailed as the “proto-Gagosian” of his day at the dawn of the era of the mega gallery and the celebrity artist.
Iolas had a talent for friendship, maintaining close relationships with some of the most prominent cultural figures of the time, including Warhol, Max Ernst and Rudolf Nureyev (with whom he danced in a Milanese street). His devotion to artists was unwavering, and he came to regard them as his family. Iolas not only extended the hand of friendship and financial support, he also played an important role in the creation of their artistic output, inspiring ideas and themes. From de Chirico, he commissioned costumes and set designs for a ballet production in Athens; in the mid-1980s he proposed to Warhol that the artist create a series of works based on Leonardo da Vinci’s ‘The Last Supper’ for an exhibition in Milan, a project Warhol relished. He was even one of the few people at the time to fully embrace Picasso’s late paintings, when these works by the artist were undervalued and unappreciated by all but a discerning few.
Iolas staged pivotal exhibitions of new work by Ernst and René Magritte, but also by Victor Brauner, Dorothea Tanning and Leonor Fini. He fostered the talents of artists such as Lucio Fontana and Claude Lalanne, and also connected with the Pop sensibility of Ed Ruscha and the eroticism of Takis, giving shows to both. His eye was informed by intuition, he said, rather than commercial considerations.
The bond between Warhol and Iolas was to prove unbreakable. They met in New York in 1945 when the young illustrator was just 17. By 1952, Iolas gave Warhol his first gallery show: ‘Fifteen Drawings based on the writings of Truman Capote”. The two continued to work together closely until their deaths, only months apart in 1987. Just as Iolas hosted Warhol’s first gallery exhibition, he would also host his last, commissioning a series of works, coincidentally but somewhat poetically based on Da Vinci’s the Last Supper. In Adrian Dannatt’s words, “Andy worked with many other dealers, but Iolas had a special place.”
Warhol produced several portraits of Iolas, testament to their enduring friendship. The gallerist can be seen in a 1972 diptych portrait, where he fades and appears through smudges of silver acrylic paint. Again, in 1974, Warhol immortalised Iolas in a portrait, against a proud blue background, in which Iolas stares straight at the viewer.
Quoted in Interview magazine in March 2014, Adrian Dannatt and Vincent Freemont – who collaborated on the exhibition that year at the Paul Kasmin Gallery in New York, ‘Alexander the Great: The Iolas Gallery 19551987’, of some 40 works by artists Iolas worked with during his lifetime – describe how Iolas cut a swathe through the art world with his flamboyant persona: “he made up for [his small stature] by wearing shoes with Cuban heels, outlandish furs… if you saw him you would stop and go, ‘Wow, who is this person?’”
His professional achievements were often attached to extraordinary stories – possibly apocryphal – and a legend formed that was in part of his own making. It was said that he had married Theodora Roosevelt to attain a Green Card and that curls of his hair were made into false eyelashes for Marlene Dietrich.
Michel Strauss, former Head of the Impressionist & Modern Art Department at Sotheby’s London, recalls visiting Iolas in 1979: “He opened a drawer which was full of Cartier watches, pulled one out and gave it to me. He had a big drawer full of those watches, which he handed out to his friends like sweets.”
In later life, having closed all but his New York gallery, Iolas concentrated his energy on his home, a marble palace that he built in an unprepossessing working class suburb of Athens. It was, in a way, his last gallery, a domestic space filled with the art that he had loved throughout his career and furnishings that complemented his flamboyant demeanour.
Iolas returned to New York, the setting of many of his greatest triumphs, and he died in Manhattan in the summer of 1987. The New York Times noted that he would be remembered as a dealer who could convince a client with “his hierophantic manner, his often sensational mode of dress and his mischievous and sometimes irresistible charm.”
Julian Opie (British, b. 1958), Now that I was no longer lost I felt more relaxed. I stopped to look at old wooden farms with turf roofs and churches made of wood so ancient that it had turned black and had a surface more like stone than wood. I felt pleased with myself for sticking with the project and finding my way across the wilderness. I looked forward to a meal in Oslo and perhaps a better hotel. It would be strange to talk and spend time with people again. I did not know the gallerists I was going to meet and it would be hard to make the shift back to being socially appropriate., 2004. Dye on nylon on wooden stretcher, 71 x 118 in.