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Jorge Demirjián (1932-2018)

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One of the advantages of being in the search of art and artist books is that you encounter books by artists of whom you never have heard before. That does not mean that they do not deserve to be known, but in some cases distance is the problem. Where a book or publications travels around the globe, it is much more difficult to let a exhibition travel physically. So this explains why i have never heard of Jorge Demirjián , an Argentinian artist born in 1932 who has had his share of exhibitions in Argentina and reminds me of Theys and Raveel .

It fits since they are contemporaries of each other , but his style is more bold. He died just a year ago and that is perhaps the reason that it was meant to be  and that i found this catalogue and had to write a blog on Demirjián. An Argentinian artist who is well known in his own country but deserves to be known outside Argentina as well. Here is the list i found on Art Guion XXI gallery:

1961 Individual exhibition at the Galeria delle Ore. Milán.
1964/1966 He settles down in Paris where he participates in Latin American Artists in the Museum of Modern Art of Paris: Galerie Lahumiére, Paris; Grands et Jeunes d’aujourd’hui, Salon de Mai.
1967 He works a brief period in New York where he participates in the following exhibitions D’Arey Gallery. New York; Tweed Gallery University, Minessota (U.S.A).
1968 Surrealism in the Argentina, Institute Torcuato Di Tella; individual exhibition at the Galería Bonino; he obtains the First Prize of Painting “Fundación Lorenzutti”.
1969 Individual exhibition at the Galería Bonino, Buenos Aires.
1970 Individual exhibition at the Galería Bonino, Buenos Aires. He obtains the Scholarship of the British Council; he settles down in London where he studies and works at the Honney College and at the Slade College of Arts, London University. He participates in the following exhibitions: Annely Juda Fine Arts, Center of Art and Communication; Camden Art Center The Slade 1871 – 1971; Royal Academy of Arts: Art Spectrum. London. 7th International Exhibition of Prints, Awning: Argentinische Kunst der Gegenwan Kunshalle, Bastleu, Switzerland; Cluitstoph Dür Galerie, Munich: Argentinean art of today, Lugano. Switzerland.
1972 Individual exhibition at the Galería Bonino, Buenos Aires. 3rd. Biennial of Arte Coltejer, Medellín,Colombia where he obtains the Prize of Painting. He represents the Argentina in the 36th Biennial of Venice. Argentinische Kunst der Gegenwan. Rheiabches Landes Museum. Bonn and at the Kunthaus, Hamburg.
1973 Individual exhibition at the Museum of Modern Art of Bogotá Colombia.
1974 Individual exhibition at Bonino Gallery, Buenos Aires.
1975 Argentine Drawings. Corcoran Gallery, Washington.
1976 He settles down in Paris. He participates in the following exhibitions: Receni. ,Latin American Drawings, New York. 
Vlll Festival International de la Peinture, Cagnes Sur Mer, France. Art Argentinean Contemporary Spanish Museum of Contemporary Art. Madrid.
1977 Individual exhibition at the Galleria delle Ore, Milán with presentation of Pierre Restany. Current art of Iberoamérica, Madrid, Spain.
Current panorama of the young painting Argentina, Fundation Alvares Peinteado, San Pablo Brasil. He obtains the 2do. award Benson & Hedges to the “Nueva Pintura Argentina”.
1979 Individual exhibition at the Gallery New Art , Buenos Aires, with presentation of Jack Ligot. Contemporary Argentinean Art; Metropolitan Museum of Tokyo. Japón Museum of Modern Art of Kamukom, Japan.
1982 The 48th Carnegie International Institute Museum of Art ,Pittsburgh, USES.
1983 1er prize Navarro Correa of Drawing, National Museum of Fine Arts. 
“Realismo tres vertientes” Museum of America. Madrid.
1985 “Ideas e imágenes en la Argentina de hoy”. 
Museum of Modern Art of Mexico. Exhibition individual Gallery Jacques Martínez, “Demirjian works on paper 1963 – 1984”. Foundation San Telmo, Buenos Aires.
1989 Idea and Images Argentina, The Bronx Museum of Arts. New York, USES. PrizePa!anza. National Museum of Fine Arts.
1990 9th. Prize of Painting “María Calderón de la Barca” National Museum of Fine Arts.
1991 Prize Palanza, National Museum of Fine Arts. “Arte en la Rosada” National Museum of Fine Arts -90 years, Argentina’s Paintings selection”. Prize Patio Bullrich. He obtains the Prize Gabus, Museum of Modern Art.
1992 “From informalism to the Critical Figuration”, F.A.B.A.
1993 Individual exhibition, Palatina Gallery and National Fund of the Arts 1985/1995 – 15 years. Museum of Modern Art.

http://www.ftn-books.com has now this one and only, but important, Title available Demirjian.

demirjian

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Jean-Michel Basquiat and Fashion

 

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This blog is how i experience books and art and what i read about them and this is certainly an article i want to share with you. The guardian did an excellent article on Basquiat and his Fahion style/ A style which looks random , but was a well thought out way of dressing… Hooray for the Guardian. Here is the article and do not forget that www.ftn-books.com has some nice titles on Jean-Michel Basquiat.

There’s an image of Jean-Michel Basquiat on the cover of the New York Times magazine from 1985. The photo is by Lizzie Himmel; the headline New Art, New Money. The artist, wearing a dark Giorgio Armani suit, white shirt and tie, leans back in a chair, one bare foot on the floor, the other up on a chair. The combination of the suit and the bare feet is typical of the way Basquiat defined his own image; always with an unconventional bent.

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I’ve obsessed over his style when standing in front of Hollywood Africans, a 1983 work from a series where the images relate to stereotypes of African Americans in the entertainment business. It is a banger of a painting and will form part of Basquiat: Boom for Real, a retrospective opening at the Barbican in London this month.

I have a longstanding interest in the way artists dress, from Picasso to Hockney, Georgia O’Keeffe to Robert Rauschenberg, and I think their wardrobes exert as powerful an influence on mainstream fashion as those of any rock or Hollywood stars. These artists carved out instantly recognisable uniforms: clothes that symbolise the same singular point of view as their greatest works, usually with the sense of complete ease that is the holy grail of true style.

Jean-Michel Basquiat, Untitled 1982, Museum Boijmans Van Beuningen, Rotterdam. On show at the Barbican in London in 2017.
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 Jean-Michel Basquiat, Untitled 1982, Museum Boijmans Van Beuningen, Rotterdam. On show at the Barbican in London in 2017. Photograph: Jean-Michel Basquiat/Barbican

Basquiat’s wardrobe was distinctive, whether he was in mismatched blazer and trousers with striped shirt and clashing tie, or patterned shirt with a leather jacket pushed off his shoulders. He was perhaps most recognisable in his paint-splattered Armani suits. “I loved the fact that he chose to wear Armani. And loved even more that he painted in my suits,” Giorgio Armani says. “I design clothes to be worn, for people to live in, and he certainly did!”

In many ways, this bricolage approach to clothing is akin to the way he created his art. “His work was a mysterious combination of elements – text and colour, historical reference, abstraction and figurative techniques,” Armani says. “In his life, he also mashed up creative activities – he was a graffiti artist, a musician, an actor, a maker of great artworks. This eclecticism made him a mysterious and unconventional man. That mix made him stand out.”

Born in Brooklyn, Basquiat and classmate Al Diaz graffitied statements across New York as SAMO© in the late 70s, before he went on to become one of the biggest stars of the 80s art scene with his unique and brilliantly chaotic paintings. He died in 1988 at just 27, but is still regarded as one of the most influential painters of his generation. A painting from 1982, Untitled, sold this year for £85m, putting him in a unique club alongside the likes of Picasso in terms of record-breaking sales.

“He was an incredibly stylish artist,” says Barbican curator Eleanor Nairne. “He was very playful about the performative aspects of identity.” He was also aware of the “renewed fixation on celebrity” that coincided with the art boom of the 80s, particularly in New York. He famously appeared in Blondie’s Rapture video, dated Madonna and befriended Andy Warhol.

Andy Warhol and Jean-Michel Basquiat, September 1985.
 Andy Warhol and Jean-Michel Basquiat, September 1985. Photograph: Richard Drew/AP

Cathleen McGuigan, who wrote that 1985 New York Times feature, recounts Basquiat at the hip Manhattan hangout Mr Chow’s, drinking kir royal and chatting to Keith Haring while Warhol dined with Nick Rhodes of Duran Duran nearby. “He attracted the attention of Warhol and Bowie, so was endorsed by those who had already achieved that rare style-icon status,” Armani says. “And he had a very unique look – he had hair as distinctive as Warhol’s and wore suits in a way as stylish and relaxed as Bowie.”

Basquiat’s interest in clothing was not just something he explored or exploited at the height of his fame. In Basquiat: A Quick Killing In Art, by Phoebe Hoban, clothes are an important part of his life story. His mother had at one point designed them, while one of his teachers noted he had pencils sticking out of his hair from an early age. Soon after he killed off SAMO© he was painting sweatshirts, lab coats and jumpsuits for Patricia Field, who gave him one of his first shows at her East Eighth Street boutique. Descriptions of his stirring appearance include this by American curator Diego Cortez: “I remember on the dancefloor seeing this black kid with a blond Mohawk. He had nothing to do with black culture. He was this Kraftwerkian technocreature … He looked like a Bowery bum and a fashion model at the same time.”

Basquiat went on to model in a 1987 Comme des Garçons show wearing a pale blue suit, black buckle sandals, white shirt and white bow tie. Robert Johnston, style director at British GQ, describes Basquiat’s style as “a work of art in itself” and adds: “While meaning no disrespect to his talent, it is hard to imagine he would have taken New York so much by storm if he’d looked more like Francis Bacon.”

Basquiat’s influence on menswear is still felt today. While other icons have referenced his style – Kanye West sported a T-shirt bearing his portrait, Frank Ocean namechecked him in lyrics by Jay-Z, who dressed as him for a Halloween party – there is a more direct effect on fashion. There have been collaborations, via his estate, with the likes of Reebok and Supreme. There’s a photo of Basquiat wearing an Adidas T-shirt with a pinstripe suit which is a template for how the younger generation approach the idea of tailoring. At the S/S 18 shows in Milan, wonky ties with suiting at Marni made me jot down “Basquiat” in my notebook. And with the Barbican show his influence will spread. “The way Basquiat mixed classic tailoring with a downtown nonchalance fits the mood in menswear,” says Jason Hughes, fashion editor of Wallpaper*. “A refined suit worn with an unironed shirt, skewwhiff tie and beaten-up sneakers. The fact that he painted in those suits feels slightly anarchic and nonconformist. I want to wear a suit like that.”

This article appears in the autumn/winter 2017 edition of The Fashion, the Guardian and the Observer’s biannual fashion supplement

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A new look and feel for the daily FTN blog and FTN art.

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These pages with the daily blogs on “books and art” needed some changes. I had to give the “Piet Dirkx daily” a more prominent spot, the place it deserves and made a new and better focus on FTN art . I found a better template and layout and because of that the items which are for sale are far more easy to access. A search option for blog and art is now included in a much better place.

The new blog site will be changed and adjusted in the coming weeks. I have to find out what works best and how to make it better, but for the moment ….enjoy!

PS. I am sorry if i published some test versions and you were wrongly notified for the new blogs published.