Patrice Delisser started her own clothing line with the mission to bring cultures from around the world together through the global gift of music.
Indie Go Inspire provides singers, musicians and global music aficionados apparel that demonstrates their personal love of music in a casual comfort style.
The annual Comedy Pet Photography Awards highlight amusing pictures of pets and their hilarious antics.
After the finalists were announced in July, the winners were decided by a panel of judges including photographers, comedians, and veterinarians. Fans also voted online for their favorite snapshot to win the People’s Choice Award.
Here are the 11 funniest pet photos of the year.
The global AI Art Generate System market trends research analyzes the current competitive development of the market. The study evaluates the economic health of the AI Art Generate System company in both domestic and foreign markets, providing data acquired from reliable sources and proven analytical approaches.
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The study ranks each competitor’s capacity from top to lowest in terms of demand to supply ratio and investigates individual growth objectives and corporate development strategies. It also evaluates the infrastructure capabilities that will allow the international AI Art Generate System market to realize its full growth potential.
The global market for AI Art Generate System has been significantly influenced by the COVID-19 outbreak, which has raised concerns regarding supply, demand, and manufacturing.
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Please note that this article has been rewritten without the original author information, contact information, sources of information, and quotes.
When the French artist Françoise Gilot was five, she travelled with her family to the Swiss Alps, where she was struck by the extraordinary polychrome meadows and verdant forests. With the sun in her eyes, she asked her father, a literary yet fiercely rational businessman and agronomist, if her view was “objective or subjective”. In other words, did they both see the same meadow, as it was? Monsieur Gilot had little time for such fancies and replied curtly: “the retina is the same for everybody”. Dissatisfied, Mademoiselle Gilot struck back: “Yes, Father, the retina is the same for everybody, but the imagination is not.”
It was around this time that Gilot turned to her parents and said simply: “I want to become a painter…” in the manner in which some children might say they want to become a firefighter. So began nearly a century of art-making as Gilot spent significant periods in Paris, London, California and New York, integrating practices developed from synthetic Cubism and geometric abstraction. In her personal commitment and restless passion for stylistic invention, and not to mention her steely-minded convictions in her own ways of seeing that would not let the older men in her life tell her what was what, she will be remembered for much more beyond the turbulent years she spent as Madame Picasso.
Gilot was born into an haute-bourgeoise family in Neuilly-sur-Seine, an affluent suburb of west Paris, in 1921. The parents’ response to their precocious daughter was mixed: Gilot’s artistic mother, an accomplished watercolourist and ceramicist, ultimately gave way to her rational husband, who wanted Françoise to go into law. His logic was that with a good education and hard work, a career in the Parisian professions would be assured. “If you want to be an attorney or a physician, that’s fine”, Gilot remembered her father saying, “but if you want to be a painter you have to be a great painter or nothing.” She agreed. But first Gilot studied philosophy at the Sorbonne and English literature at the British Institute in Paris and the Sorbonne, graduating in 1939 just as war arrived in France.
A staunch anti-collaborator who feared the imminent occupation of Paris, Gilot’s father sent her to the town of Rennes in Brittany to begin her legal training. Like many of her generation who grew up during war and occupation, and who had to become mature from one day to the next, she felt an imperative to live life in the shadow of catastrophe; this only magnified her desire to make art. “I don’t know how long we will all remain alive,” she said, “so I will do what I want.” It was during this period that she resolved to become an artist, and abandoned her legal studies several times before ultimately passing her exams in 1942. Gilot began private lessons with the bohemian Hungarian Jewish painter Endre Rozsda, a proponent of Surrealism and lyrical abstraction. By May 1943, at the age of only 22, and under the watchful eye of plain-clothed Nazi officials, she staged her first exhibition in Paris. Paintings from this period include The Hawk (1943), which envisages a taxidermy bird of prey as a still life and set against the tops of a Parisian boulevard outside. It is elegance and ferocity in one picture.
That same month, Gilot experienced another life-changing moment. While out for dinner at Le Catalan on the rue des Grands-Augustins, and accompanied by her friend Geneviève Aliquot and the actor Alain Cuny, who was then a darling of Antonin Artaud’s Theatre of Cruelty style, Gilot caught Pablo Picasso’s eye. Characteristically undeterred by the fact that he was mid-course with his lover, the Surrealist photographer Dora Maar, Picasso invited Gilot to his studio. Picasso was 40 years Gilot’s senior, and the two began a romantic relationship that led to two children, Claude and Paloma. In her memoir Life with Picasso (1964), co-written with the art critic Carlton Lake, Gilot recalls Picasso’s devotion and intimacy, the creative ballast that they maintained for one another, as well as his violence. At the height of a wild argument about his “Don Juan” infidelities, as she put it, Gilot recounts Picasso putting a cigarette to her cheek: “He must have expected me to pull away, but I was determined not to give him the satisfaction.”
Despite Picasso’s desperate attempts to halt its publication, Gilot dedicated Life with Picasso “to Pablo” and often stressed the subtle importance of its title: it does not have the possessive “my”, but is the whole picture of a life. La vie. But within a decade, life with Picasso had become unbearable: on 20 September 1953, Gilot did the unthinkable and became the only one of Picasso’s mistresses to walk out on him. “No woman leaves a man like me”, he said, and Gilot did just that.
Seeking solace, Gilot married her childhood friend Luc Simon, another Modernist artist but one with a much softer temperament, in 1955. With Simon, Gilot gave birth to Aurélia in 1956, the same year as a transformational visit to Tunisia, in which she began working through a nomadic-inspired “wanderer” motif lost in deserts and mountains that perhaps spoke to her increasing sense that she did not know where she belonged. Gilot divorced Simon in 1962.
Gilot did the unthinkable and became the only one of Picasso’s mistresses to walk out on him
By now, Gilot was associated with the Salon des Réalités Nouvelles, led by Sonia Delaunay and Nicolas de Staël. Fast becoming an established figure on her own terms in the faltering School of Paris, a scene that she recognised was “no longer the centre”, Gilot hesitated between London and New York, before settling in the swinging 60s stronghold of Chelsea, west London, in a studio in Sydney Close, between 1964 and 1968. It was here that she produced her most celebrated work: Paloma à la Guitare (1965). It’s easy to see, in the jagged forms of perspective, something of her former lover, Picasso, and in the bright bold blues something of his rival Henri Matisse. (Gilot knew Matisse well, and published Matisse and Picasso: A Friendship in Art in 1990.) When Paloma à la Guitare was put up for auction by Sotheby’s in London in 2021, the lower estimate was £120,000, but it sold for seven times that, at £922,500. The art market woke up with a start to the fact that being a muse of a great artist did not preclude being a great artist oneself.
Following another chance encounter at a restaurant, this time in San Diego in 1969, Gilot was introduced to Jonas Salk, the American polio vaccine pioneer. After a few false starts, they ultimately bonded over a love of modern architecture and a firm sense of one another’s professional independence. Gilot and Salk married in 1970 and stayed together until his death in 1995. Spending around half of the year apart, they shared residences in La Jolla, New York, and Paris. Gilot’s mature work demonstrated her remarkable versatility as a colourist: a painting like Red and Gold (1978) was conceived of lateral abstract shapes before Gilot transformed it using the horizontal alignment principles of landscape painting. Accolades followed: in 1978, she was made a member of France’s Ordre des Arts et des Lettres, which honours significant contributions to arts and literature, and in 2009 was made Officier de la Legion d’Honneur, the highest order of merit for French civilians.
Gilot is survived by her three children: Aurélia Engel, an architect; Claude Picasso, the director of Picasso Administration, his father’s estate; and Paloma Picasso, the fashion and jewellery designer; and by four grandchildren.
In the last years of her mother’s life, Aurélia remembered that Gilot’s patron saint was St Francis of Assisi, who is invariably depicted as a whisperer to the birds. If Picasso’s white dove has become inextricably linked to the international peace movement, then one cannot help but see the rich aviary of images found in Gilot’s works, from Egyptian-inspired bird-creatures to intricately patterned Orphic warblers, as symbols of both freedom and constraint for a woman who pushed back against patriarchs and patriarchy and became an accomplished artist shown around the world. “It’s a bad idea that women have to concede,” she said in 2016. “Why should they? That wasn’t for me.”
• Marie Françoise Gilot; born Neuilly-sur-Seine, Paris 26 November 1921; partner of Pablo Picasso 1944-53 (one daughter, one son); married 1955 Luc Simon (one daughter; marriage dissolved 1962), 1970 Jonas Salk (died 1995); died New York City 6 June 2023
This September, Christie’s Education introduces its most comprehensive course to date with a dynamic syllabus spanning centuries of art history. Taught by experts at the forefront of the industry, the year-long programme is tailor-made for individuals passionate about the history of art and those aspiring to a career in the art world. With weekly live-stream lectures, in-person art handling sessions and interactive drawing lessons at Christie’s London flagship site in the heart of St James’s, the course culminates in a field trip to Paris, Florence, Rome or Venice, where students will immerse themselves in the vibrant art scenes of these iconic cities and broaden their understanding of art’s global influence outside the classroom.
The curriculum comprises ten modules covering a wide range of essential topics — at its core, a chronological survey spanning the past 500 years of art. With a focus on history’s most visionary artists and pivotal artistic movements that have shaped the world, the course guides students through the intricacies of reading a painting and interpreting the symbols, classical myths and biblical narratives that feature most prominently in art. They also acquire first-hand insights from artists and collectors on curating, managing, conserving and exhibiting a collection.
The course covers topical debate including the repatriation of cultural property Christie’s Education
Under the guidance of Christie’s auction house specialists, students are invited to handle paintings and decorative works of art and learn about the materials and techniques used to make them. Lifting the veil on how works of art are prepared and valued for sale, students are guided through the process of cataloguing with an emphasis on the meticulous research carried out by Christie’s specialists, yielding significant artistic discoveries and record-breaking auction results. With the largest and most experienced Restitution team of any international auction house, Christie’s makes provenance research an essential part of the cataloguing process. Students are guided through the complexities surrounding the restitution of Nazi-era theft and dispossession, as well as the topical debate surrounding the repatriation of cultural property. With poignant relevance, this module offers an alternative perspective of the art world and sheds light on events that have shaped its history.
The extraordinary rise of contemporary art as the leading collecting category in recent years is a focal point of the course
Another course module explores the evolution and economics of the art industry and how and why it functions as it does today. The extraordinary rise of contemporary art as the leading collecting category in recent years is a focal point of the course, with students being introduced to the major modern and contemporary art movements and the influence that politics and social change have had on artists. It also examines the emergence of contemporary art as a source of personal fascination as well as a strategic avenue for investment.
Course participants receive guided tours of galleries, museums and exhibitions Christie’s Education
Participants are treated to a masterclass in Renaissance drawing techniques, showcasing the principles of figurative and naturalistic drawing as honed by the Old Masters. Guided tours of galleries, museums and exhibitions occur throughout the programme, with field trips in France and Italy marking its conclusion in June 2024. The course is led by Glen Hardwick-Bruce, Programme Director of Continuing Education at Christie’s London, who is supported by award-winning artists, tutors and industry experts. A centre of excellence with sites in London, New York and Hong Kong, Christie’s Education offers tuition in a wide spectrum of subjects ranging from the origin of Western art to the contemporary art and luxury market.
St. Louis, Mo. – Washington University in St. Louis Associate Vice Chancellor for Student Affairs & John M. Schael Director of Athletics Anthony J. Azama along with Senior Associate Director for External Operations, D’Angelo Solomon, have announced the hiring of Symone Palmer as the new Marketing and Multimedia Manager
“We are extremely excited to add a unique talent to the Bears family,” said Solomon. “Symone’s ability to see the big picture and devise strategies to better market WashU Athletics & Recreation was evident from the beginning. We look forward to the journey ahead.”
Palmer joins WashU after serving as the Director of Marketing and Digital Media at the Arts and Education Council of St. Louis. In this role, she developed blog content and press releases to promote programming, funding opportunities and partner art organizations’ events. Palmer also enhanced the organization’s social media presence, growing reach on Instagram by 140 percent within the first three months. Additionally, she worked on new branding material to highlight brand messaging and handled the in-house creation of brand collateral for the 32nd Annual St. Louis Arts Awards.
Prior to that, Palmer spent one-and-a-half years as a Digital Media Strategist for ArchCity Defenders. In this role, she was responsible for the daily development of graphic, photographic, video graphic and written content and branded materials. She led and managed creative projects to highlight the organization’s advocacy work to raise public awareness and inspire action. In her time there, Palmer increased social media presence by more than 50 percent.
Additionally, has owned Designs by Monie since 2015, serving as a freelance graphic designer. She has served organizations, school districts and small businesses for their logo, web and print design needs.
Palmer is a 2018 graduate of WashU, earning a bachelor’s degree in marketing with a minor in design. During her time on the Danforth campus, she worked as a student designer for the Olin Business School, creating original artwork to promote business school campaigns, updated visual brand identities for business school programs and groups and created a logo for the Diversity and Inclusion Committee.
Palmer begins her appointment at WashU on Monday, August 7.
Photography lets us capture unique moments that any other art form can’t, and that is true for sports photography as well. So today, we would like to share the best sports photos of this year.
The World Sports Photography Awards has announced their winners out of 700 participants. In total there were 24 categories ranging from basketball to motorsports, to urban and extreme. The winners of each category were awarded gold, silver, or bronze prizes.
Furthermore, there were 3 exceptional photographers awarded as overall winners, who secured gold prizes in their category. The gold winner of overall winners is Patrick Smith, winning with a photograph of a golf player in the clouds. The silver winner is Octávio Passos, and the bronze overall winner is Phil Noble.
We encourage you to go and see special merit images too on the World Sports Photography Awards website, but as for the winners, scroll down below and let us know which photo is your absolute favorite.
More info: worldsportsphotographyawards.com | Instagram | Facebook | twitter.com
WATERLOO – Kitchener-Waterloo residents and policymakers will see homelessness through a new lens at an upcoming photography exhibit called Falling Through the Cracks: Voices of Displacement in Waterloo Region. With the support of Wilfrid Laurier University researchers, people with lived experiences of homelessness captured their perspectives through imagery. They will display their work at the Kitchener Public Library on Aug. 16 from 5 to 8 p.m.
Falling Through the Cracks is part of an ongoing research collaboration between Laurier students and faculty members and the Lived Expertise Working Group (LEWG), an advisory panel providing input on the City of Kitchener’s housing strategy. LEWG members conceptualized and led the project as part of Laurier’s Applied Community Research course, which partners students with local organizations to address an identified practical need. The exhibit features photos taken around Waterloo Region to highlight the impacts of homelessness and opportunities to address housing insecurity.
“This project allowed members of our working group to experience research from the perspective of researchers rather than subjects being researched,” said David Alton, LEWG facilitator at the Social Development Centre Waterloo Region. “The exhibit has been a powerful tool to help working group members talk to city staff about displacement and the many layers of subjective experience attached to places and spaces.”
“These photos, with their accompanying descriptions, really highlight how a space can hold drastically different meanings or importance depending on who is interacting,” said Sarah Ranco, a PhD student in Laurier’s Community Psychology program who co-facilitated the research alongside Professor Manuel Riemer and three undergraduate students: Oluwatosin (Praise) Oluwayemi, Eden Phelan and Shequera Powell.
“There are lots of hidden stories in alleyways and places that we just walk past,” says Oluwayemi, who recently graduated with her Bachelor of Arts in Psychology.
One of the images, titled “The Picnic Table” by C, features an empty, unremarkable picnic table in a local park. The caption reveals a deeper story, describing the table as “a very powerful place.”
“A few people live at this table,” the description says. “They’ve been here for years. This week alone, we lost four of them.” A footnote adds that since then, seven more have died. “This table provides a sense of belonging. One picnic table has changed so many lives.”
The combination of imagery and personal narrative is a community-based research method called Photovoice, meant to spotlight the perspectives of lived experience. Phelan said the use of Photovoice was a deliberate choice given the subject matter.
“We agreed that photographs were the most effective way we could share this research, as it gave our participants a firsthand way to showcase their stories, environments and objects that are important to them,” said Phelan (BA ’23). “Photographs evoke more emotion than written words or numbers on a page. We hope they strike people in a way that leads to positive change in our community.”
Powell was drawn to the project because of her own experiences with housing instability. She was grateful to funnel her passion into research with the potential for tangible impact.
“Lack of affordable housing is the foundation of many social problems that Canadians face, including health care, education and economic disparities,” said Powell, a Bachelor of Arts graduate who is now pursuing her Master of Arts in Health Policy and Equity at York University. “Through our sessions with the working group, we identified clear disconnects and gaps in the housing system and barriers that current policies place on vulnerable communities. I appreciated participants’ willingness to share. There is no greater value than learning directly from people with lived experiences.”
Falling Through the Cracks, which will feature presentations by LEWG members at 6 p.m. on Aug. 16, is raising funds to send the working group to the National Conference on Ending Homelessness in Halifax in November.
“Attending the conference will allow working group members to be treated like the experts they are and give them the opportunity to connect with peers across the country,” said Alton.
The exhibit will be displayed at the Kitchener Public Library’s 85 Queen St. location. It is open to all.
“A Better Tent City 2” by K
Artist description: Unhoused people are being pushed outside of the inner-city core. Capitalism creates an environment of scarcity among abundance which fosters violence and conflict. Funding increases for living spaces could prevent this. Better Tent City was created for people to have a place to call home. Outsiders may see this place as messy, but there isn’t enough space. Even so, this space provides people a chance to live with dignity.
“Safe Injection Site” by J
Artist description: The community originally set up their own safe injection site, but people would terrorize the associated areas, burning tents, calling the police, and using drones. At this site, there are nurses that will give you oxygen instead of naloxone (but naloxone is still available). This is a positive community action, and we need more. The problem is there aren’t enough throughout the city, they’re only in the downtown core.
