The Beginner’s Guide To Adding Art To Your Home


Deciding the theme of the decor of your house is an uphill task in itself. Many people get intimidated by the thought of choosing the decoration for their home primarily because they think it is an expensive scheme of affairs and also because they believe that their choice might not fit well with the surroundings of their home. Having said that, many people are always in search of decor items that can enhance the overall look and vibe of their home.

When talking about decor items, the most important and the most popular choice among the homemakers is of selecting suitable art pieces so that they can go well with the spaces in the house and enhance their beauty.

For those who are not inclined towards art, this whole process of choosing a suitable painting or art piece and then accommodating it in the house so that it makes it look better by complementing it also a difficult task.

Therefore, in this article, let us take a look at the steps that you need to follow so that you can choose the best art forms, so that goes very well with the theme of your house.

Color coordination

The colors that you choose for the walls of your house are an essential aspect of the planning of the decor of the house. It would be best if you did not go in with the boring idea of having the same color in the entire house. You should be aware that colors speak about the mood of the place and will add more to the vibe of the house. Therefore, you should select colors intelligently so that they can complement the atmosphere of the house.

For implementing this, you can go in for ideas such as choosing more vibrant colors for the walls of the living room where you are willing to welcome the guests with warmth into your house. You can choose yellow as a safe and trusted choice for the color of the walls of the living room. As far as other rooms such as the bedroom are concerned, you should go in for decent and less radiant colors like white or grey to have a peaceful vibe.

Hang paintings as low as possible

The choice of artwork that you are willing to put up on the walls of your house can vary according to your choice and personality, but the principle of putting up these paintings on the walls remains the same, and the most effective one is that you hang these paintings as low as possible on the walls.

This is because when the artwork is hanging more closer to the people and lower on the walls, then it is more visible, and people are more attracted to see it than in any other case. Many people say that having the artwork hung up on the wall closer to yourself creates intimacy for the whole decor of the room, which serves the purpose of creating a lively vibe in the room.

Go for contrasts

While choosing the artwork that you want to portray in the rooms of your house, you should go in for the principle of having contrasts. By contrast, we mean that the color of the wall that you have chosen and the colors that are used in the painting should be such that contrast or a striking difference is present between them. When you do so, then both the wall and painting become more attractive and draw the attention of the people in an instant.

Photo collages

Choosing themes for the decors in the modern era is more about making them personalized and catering to the individual in particular. Therefore, personalizing the selection of art for the walls of the house means that you can go in for photo collages that are ensembles and montages of the moments that you have shared with your family in pictures.


You can either take a photo collage by yourself or can choose the pictures that you want to be a part of the college and make use of online platforms that can combine them to make a photo collage. A popular website offering the service is CanvasPop, where you can assemble all the desirable photos into a single photo collage easily. The CanvasPop photo collage will be a great addition to your house.


In cases where budget is a constraint, but you are willing to put up artwork on the walls of your house, then you must make a conscious decision where you should decide the places where you should hang these paintings. The decision must be based on the fact that the painting should be hung up on the wall, which is the most visible to the people who are visiting your house.

For example, there is no point in hanging more paintings inside your bedroom because fewer people will be visiting that room. Instead, you should go in for more paintings in your living room.

All in all

There is no need to get intimidated by the desire of having artwork become a part of the decor of your house. When you choose the right form of artwork for your house, it will serve as a great representation of your emotions and memories. It is just that smart decisions have to be taken so that you can inculcate the best art forms that go well with the interiors of your house.

Posted in Art

Artist Francesca Galliani Explores: Feminism, Human Rights and The Female Body


Italian populism is on the rise, fueled by the era of Trump, but artist Francesca Galliani continues to push the democratic ideals where art and freedom of expression meet seamlessly between Italian and American culture via the rise of globalization. Photographer, Francesca Galliani doesn’t just take photos—she captures emotion. Through her imagery, which also includes mixed media works, collage and painting, the Italian born and New York-based artist explores feminism, human rights and the female body. From subjects including impoverished towns in Southeast Asia, to members of the transgender community, Galliani’s work has taken her across the world—and her photos bring the viewers right along with her.

Having discovered photography by chance, after taking a summer course in order to learn how to use her camera, Galliani fell in love with the dark room—and the process. Using experimental techniques to manipulate her photos, she doesn’t believe in boundaries. Instead, Galliani uses art to break as many barriers as possible, while always communicating a powerful message.

As part of the opening of BlackBook’s new experiential art gallery, “BlackBook Presents”, we’ve curated some of our favorite pieces of Galliani’s work, which will be on view starting November 28 at BlackBook Presents in Dumbo Brooklyn.

In anticipation of the show, we sat down with the artist to talk about her work and her responsibilities as an artist.


Tell me about your background.

I’ve been an artist since 1983. My background is: I went to art school and started out as a photographer. I originally just wanted to do fine art photography, but then eventually expanded. I come from the old school of being in the dark room, and developed some techniques that are unique to me. I use toner to do a manual intervention and take the image to another dimension. I’ve always been into manipulating images. So, I started in the dark room and eventually went to mixed media. I always start with my images and then add paint and other elements, especially with words. I love words, I love to take them out of their context and give them a new meaning when you isolate them. I’ve been working in the dark room for 35 years and that’s still my home base. I still am always in the dark room. There’s a magic in there.

Do you consider your work collage?

I think they’re bigger than collage—they take it a step further. So, I’d call it mixed media. I mean, I always start in the dark room, with my images, and then I work to manipulate them. There are elements of collage there, of course, but I also use things like paint, graphite, charcoal.

How did you first get into photography?

It really happened by coincidence. When I was younger, I decided I wanted to learn how to use a camera. So, I went to a summer class to learn, and had this nice surprise of really being in love with it. Then, you know how when you fall in love with something or someone, you just want to do it or be near them all the time? That’s what happened, and I started shooting, and working in the dark room everyday. But when the class was over, my teacher took me aside and she said, ‘The technique, everyone can learn, but the eye—you either have it or you don’t. And you have it. I urge you to keep going.’ I went to the Corcoran School of Art where I got a BFA specializing in photography.

What is it for you about photography that really allows you to express yourself in a way that other mediums maybe wouldn’t?

Any time I create—it could be photography, or painting—the process keeps me alive. It gives me life. The process of creation itself is everything—the medium doesn’t really matter. They all have the same result of feeding me, feeding my soul. But I also believe it’s the art itself that tells you what to do—that we, as artists, are just channels. So, when I create a painting it’s based on instinct. Photography is an art form—it’s just a different media that serves the same purpose, equally as good as a painting. It’s just about learning how to listen to your gut and follow it, but also let your intellect be part of the creative process. Don’t get influenced by what you think other people might like.

When did you start working with collage, though?

Around 2004.

What made you want to start?

Well, look. I started in 1983, so it took me basically 20 years to get to that point. But I started because I use these toners that are very powerful. They give a great punch to the image, but they also contain Mercury, which is toxic. So, at a certain point, I used to think, ‘For my art, I don’t care if it kills me.’ But then I started getting sick, and my lungs started to hurt, and I realized I didn’t want to die just for the sake of my work. I changed my mind. But I wanted to keep creating in a unique way. So, I decided to continue shooting analog photos, then scan my work and create really large pieces. Then I decided I could still manually intervene, like I used to with toner, but with paint, or with collage, and still achieve that same effect. And I ended up loving the process.
When I was in art school, the first few years, you have to take sort of basic classes. So, everyone—myself included—had to take classes like painting, figure drawing, etc. But I did end up getting real training in painting. Of course, when I was in school, I didn’t care about painting—I just wanted to do my photography. But it was amazing, because later on, that education really served my work. Like, the work I’m doing now, I’m working with abstract painting, which I’ve never done in my life. But I just had this voice in my head telling me, ‘Abstract. You have to do it.’ At first, I thought it would be a disaster, but the more I work, the more I fall in love with it.

As far as photography goes—a lot of people find that photographing someone is almost like communicating to them non-verbally. Do you find that that’s true?

Oh, absolutely. A lot of my work is really socio-political, even my nudes. If you look at the women I photograph, they’re all strong, powerful women. Usually, with nudes, it’s all about seeing and showcasing the body. But with my photos, it’s about showing female strength, and the power in their form. I’ve also been photographing transgender people since 1998. Now, that’s much more accepted, but especially in the ‘90s, it wasn’t something everyone was doing. I did all of those portraits to show the dignity and the beauty of the community. So, I definitely like to use my work to communicate a strong socio-political message.



Do you consider your work feminist?

Of course. My work is about human rights, and women’s rights are human rights.

How does your work explore human rights?

The LGBTQ community, being a woman, even poverty—these are all things that experience prejudice, and with my work, I want to shine a light on them, and the show the dignity in those communities. I do like to have a wide spectrum, and not just focus on one thing, because I want to share the power of all these different things. Even when I traveled to Southeast Asia and photographed all of these impoverished communities—that’s important to me. So many people think of success as how much money you make, or how many nice things you have, but I wanted to show that success can mean many different things. It was similar to what I did with the transgender community in that I wanted to show the beauty in these people, to show that they, too, are human. As for the abstract stuff, it’s really about exploring uncertainty and uncertain times, which is really what the whole world is dealing with right now—not just the United States. Everything is changing, shifting to the extreme right side, so there’s a lot of fear. But art can be a venue—I believe art changes things.

I know you’re from Milan originally. With your work, you’re clearly touching on relevant socio-political themes in regards to what’s happening in the U.S., but do you think your cultural background plays a part in your aesthetic?

Of course my culture has a role in shaping my work. But I came to the United States at a very young age, and the work I’m doing has always engaged with my current experiences. As an artist, I think we work 24 hours a day—we’re at work, even when we’re not physically creating. Sometimes you don’t necessarily feel inspired to work, and I used to have a really hard time with that part. Like, ‘Why are you not producing?’ But then I realized you need those periods of rest when you’re job is putting yourself, and all of your feelings, out there for the rest of the world to interact with. It’s necessary to recharge if you want to create again. So, who I am, the culture that I’m in, just walking around—all of that influences my work. And who I am is what I believe in, which has a huge impact on what I do.

I know you said you really fell in love with photography because of the process, and your experience working in the dark room, but do you think its ability to tackle these kinds of topics—like human rights or feminism—is part of what makes it so appealing to you?

As artists, I think we have a responsibility to create. You’re given a gift and it’s a responsibility for you to use that gift to create and share a message. Like I said, when I first started, I just wanted to learn how to use my camera. But then I learned to follow my gut, and my instincts, and use my camera to share what I believe in. It’s my responsibility to address what’s happening in the world, however it comes out in my art. Whether it’s more obvious with words, or just an abstract image, people can interpret it however they want, but I’m really not a conceptual artist. My work is emotional, and speaks directly to people. That’s why I don’t give titles to most of my pieces—because I want the image to show what it has to say. There’s a really intimate connection between art and the person who’s looking at it. So, I really don’t like to interfere. My job is just to act as a vessel and let the work speak for itself.

How do you think your work has changed since you first started?

It has definitely evolved. I always like to be experimental, and push boundaries with what I’m doing. I never like to find something that works and just get stuck in it. So, I’m always creating and trying to push myself to create differently. I think there are artists who get stuck in what they’re doing, and others, who get too excited and change their style quickly. I tend to be that kind of artist. So, I do need to force myself to slow down a bit, but I never want to stop evolving.

What do you think you’d be doing if you weren’t an artist?

I don’t know. I’ve asked myself that many times. But I can’t imagine doing anything else. Art is my passion—I don’t know how to be anything but creative. I did do fashion photography for a number of years and I did really enjoy it, but that’s still a creative thing. The difference is, you have to follow directions from the client, which forces you to be creative within limitations. But when I do my own art, I don’t want any boundaries—I want to break them.

What do you want people to take away from your work?

I just want to make people think, and open up something inside of them that makes them want to journey within. Of course, I know there are people who aren’t going to like my work. But for the people that like it, I want to touch their emotions, and make them feel good. Someone who bought a few of my pieces once told me he likes coming home to my work because it makes him happy. That’s great. I can’t ask for anything more than that. I just want to have a positive impact.


See more of Francesca’s work at the BlackBook Presents opening on November 28 through January 1, 2019 at 20 John Street in Brooklyn.


Francesca’s recent exhibitions include:

2018 M.A.C. Milan-Italy

2018 Studio Tiepolo 38, Rome-Italy

2018 Biennale Internazionale Arte Contemporanea (Bias) Palermo

2018 Mc2 gallery, Milan-Italy

Photographer Bob Tabor is the Ansel Adams of the Modern Generation


—Except with a twist; Bob Tabor’s black-and-white and low-contrast color portraits of horses and the ocean are ethereal and effortlessly American. And they pull you right in.

But while Adams photographed the American landscape in high contrast black-and-white, Tabor’s landscapes are often more abstract. A close-up on the break of a wave; a large-scale portrait of a horse’s eye—Tabor focuses on the beauty in the details of some of nature’s most mysterious subjects. His works are equally enigmatic. A black-and-white image of a splash of rustling water could, if you didn’t know what it was, just as easily be a painting, or a slab of granite. That’s part of their unmistakable beauty: Tabor’s work makes you want to stop and examine things a little closer; think, consider, and really take things in.

The former advertising executive and creative director, who got his start in photography only ten years ago after learning how to use a camera while on vacation in Napa, has released his own coffee table books, Horse Whisperings, Polo: Equine Warriors, HORSE/HUMAN: An Emotional Bond, and Dreamscapes: Finding a place to call your own; Ralph Lauren decorates their stores around the world with Bob Tabor’s stunning equestrian images; and exhibited his work all around New York City and The Hamptons, where he currently lives and works. Now Bob is aiming global as interest in his works pours in.

A selection of some of Tabor’s latest work will be on view as part of the opening of BlackBook’s new experiential art gallery, “BlackBook Presents,” beginning November 28 in Dumbo, Brooklyn.

We spoke with Bob Tabor at length about his work and show at BlackBook Presents:



Tell me about your background.

For 46 years, I was an Executive Creative Director for advertising agencies and worked on leading accounts with major brands globally. I worked with Alka Seltzer, Dentyne Ice, off-track betting—I introduced that way back when—pharmaceutical accounts, everything, and I won every award in the ad industry. But I always had that feeling of wanting to create. It was just that I was always creating for other people—that’s what I did during the week. Then, the weekends came, and I didn’t want to do anything except get my head together and look forward to the next week. So, I never did my own creative work for me. Then, for my 60th birthday, my—at that point—new wife and I went on vacation to Napa, and she bought me a point and shoot, simple digital camera. But really just for fun, and to enjoy the holiday. But what happened was, the moment I picked up that camera, I started to see things differently and from different perspectives. I shot non-stop for that entire week in the vineyard, and that started the whole thing.

When did you go from shooting for yourself for fun on that vineyard to being a professional artist?

Pretty much immediately, people saw my work and started putting it in galleries. One day, while I was photographing in a vineyard in Bridgehampton, I noticed a horse being ridden by what looked like a model. I followed them, and ended up finding the stables. So, I picked up my camera again and just started shooting the horses. A week later, I came back to share the images that I took because I felt that the horses looked like sculptures, and the way that the light hit them—it was just a whole new world for me. A gentleman came in while I was sharing the work, and said, ‘That’s my horse! Is the photo for sale?’ I mean, I hadn’t even thought about selling my work. But he told me, ‘Buddy, I think you should meet my boss.’ I asked him who he worked for, and he ended up being one of the store designers for Ralph Lauren. So, talk about stepping in it. I stepped in it. The rest is history, and my love for horses, my love for photography—it grows every single day.

Do you think your job in advertising had anything to do with your career move?

For me, it really was a natural progression of what I was doing for others—I became a brand, and the brand of Bob Tabor is very sacred to me. I respect the work, I respect the prices people pay for it, I don’t just look to sell and undercut prices, and I only make a limited edition of eight of each of my fine art images. But I let people order it in whatever size they want. So, each one is limited edition, but each one is also an edition of its own. I truly don’t believe it’s art unless you bring it into your life. That’s why I don’t want to feel limited for the consumer to say, ‘Oh it’s so nice, but I wish my wall was smaller,’ or ‘This is four feet and my wall is twelve feet.’ And again, because of my background in graphic design, playing with negative space, the way I crop an image—those things are very important to me, and part of what, I think, makes my work my own.
If I can’t make things that are different than all of the other photographers out there, I just won’t do it. I need everything I make to be mine—even my polo work. So, when I’m shooting polo matches, I don’t care about the scenery, I don’t care about the people watching the game—I want to see the horse. He’s the warrior. I want to see his muscles, I want to see his eyes. In all of my equine work, the star is the horse, the eyes of the horse and the opening of the soul of the animal—the beauty, and the sensitivity. That’s what I try to capture in every portrait I do.

How do you think your advertising work has affected your eye as a photographer?

Because of advertising, I have that graphic design sense where I know how to look at a page, or a canvas, or in this case, a photo, and now how to make it appealing for a consumer to stop when they’re looking at a magazine with a hundred other photos trying to gain their attention. So, the way I do things with my photography is also very graphic. Also, the conceptual fun of thinking up an idea to make it inviting, to create something that makes someone stop and view something differently—that’s equally important in photography. It’s about how you present it, and how they interpret it to make it art. It’s basically the same job again—I keep on doing the same thing over and over. Groundhog Day.

Before advertising, when you were younger, did you ever have any interest in the arts?

No. I never had an interest. The camera was always only there to take photos of my children when they were growing up. Before that, when I was in high school, I was accepted into the School of Visual Arts in New York City, and my major at that point was fine art. That’s what I wanted to be—a fine artist, and teach college level art so I could put some food on the table. In school, I really excelled at painting, but I had a real dose of reality when my father sat me down and said, ‘You’re going to have to support yourself. You got into a bad habit eating five times a day, and I can’t keep it going.’ So, I went back to my counselor at SVA and asked him how I could stay in the art world, but know that I could make a living when I graduate, and he said advertising. So, that’s what I did, and truthfully, I loved it as much as I loved fine art, because I was still creating.

Walk me through your process. The idea of using natural light, but replacing the natural background is really unique. Why did you start doing that?

Well, I really break my work up into two worlds: the equine world and the landscape world. With the equine world, I want to take away anything that’s distracting the viewer from the face and eyes of the animal. It works in my favor to tell the story of the animal. So, I do actually photograph animals in the worst possible lighting—hard lighting in the middle of the day, early afternoon, when it’s so hot and so bright. I only shoot the animal in their environments—their barns, their stables—in their comfortable environment, with natural lighting so they don’t get uncomfortable with lights flashing all around them. My shutter is constantly being clicked, so I am the sound that they hear—they think a shutter is part of me—and I can go up and stick that camera right up next to their eye, because they trust me. I talk to them. There’s no rush for me to get a photograph. So, I really try to build a friendship—a bond—with these animals, so that they’ll let me shoot them in their most special, and vulnerable way.

What about the process with your ocean graphics?

The ocean graphics—there’s actually two parts to the story. The first is that I’ve always been fascinated by the ocean. Growing up, my parents ran a hotel in The Rockaways in Queens, and during summertime, I spent my days at the beach, from the time I was an infant until I was six years old. So, I was always drawn to the ocean. For me, like for most people, the ocean really is a space for rebirth; it’s a calming factor; it’s soothing, even when the ocean is at its roughest. Even right now, I’m sitting here looking at a photo I took of the ocean that’s currently in my living room. Just looking at gives me an instant calm feeling.
There was a series I did called ‘Dreamscapes,’ and they were really just the beauty of the ocean. From that series, I started to delve into the thought process of my own life—thinking of the future, thinking of the past, thinking of the moment—and I started to do another series called ‘White Seascapes.’ They’re all bleached white, no color—just grays and whites. There’s a whole series like that, which will be featured in my new book, Splash, which will be my fifth coffee table book.
But this series deals with something that I was unaware of. It was not only dealing with the future and enjoying the moment, and getting caught up in the thought process, but there was uncomfortable pattern coming out regarding my past. While I was working on it, in post-production, taking out the color and giving it this more heavenly look, there was this uncomfortable pattern I started to notice. The work is well received and truly, people enjoy it. But that’s when I met [Blackbarn’s] Mark [Zeff]. He saw the white on white photo and asked me to sit down for a meeting. So, I went to go meet him and he made me uncomfortable for the very first time since I had worked in advertising. He said, ‘Push the envelope. Give me something different. Take the water and change it.’ That just totally shocked me, and at first, I thought ‘No way. That’s not Bob Tabor.’ But then I started to go back and did this major exploratory, and wound up with that whole series of ‘Splash’ pieces, which are actually the tip of the surf from the ‘White on White’ series.

You said you were having a sort of bad, anxious feeling when looking at the seascapes. What was that about? Did you ever figure it out?

I’m the baby of three brothers, and fortunately, both of my brothers are both still alive. But I went to my brothers and said, ‘I’m dealing with something with this water process and I can’t figure it out.’ I don’t swim. I’m 70 years old, I live near the beach, I have a pool, and I’m fascinated by the ocean. But I just can’t put my head under water. My brothers, who are 8 and 16 years older than me finally said, ‘Well, didn’t Mom ever tell you that you almost drowned?’ What the fuck? I just had an intuitive reaction. Apparently, my father—like I said, we spent summers at the beach—when I was two years old, carried me into the ocean, and a big wave hit him, knocking me out of his arms. I obviously was looking under water to see the type of lighting that I’m now re-creating in my art work.



What’s your favorite part about photographing the subjects you do?

When I photograph, I know exactly what I’m looking for before it happens—whether it’s the churning of the waves, I’ll stop and wait for a particular feeling that I just know the ocean is going to deliver, or if it’s a horse and I pick up a certain head movement as it happens. I’m a quick read of what’s around me. And really, I see the finished photo before I even take out my camera. That’s why, when I’m commissioned to do work, I say, ‘It make take an hour, or it may take a week. I’ll stay there until I have it, and I know I have it when I leave, otherwise I don’t. I’ll stay as long as it takes to get the right moment. I don’t look at photos after the fact and think, ‘Oh that’s great! Let’s use that one.’ I try to make it exactly how I think it should be while I’m there in the moment.

How do you know if you got the shot?

It’s a commitment. But it gets to the point of trusting your vision, and knowing what looks right, and what you’re trying to communicate with your piece. You just have to be able to step away, and trust your instincts.

You do use some color in your work, with the equine photos and some of your ocean landscapes, but a lot of your work is in black-and-white. Why is that?

If you look at my Dreamscapes, they’re all color. But I love the ethereal quality of the black-and-white that I really try to communicate in my work. Each subject matter I take on has its own personality. I try not to set any rules in what I’m trying to accomplish—it’s very important for me to start with a fresh canvas each time you sit down with something.

Remind me—how long have you been doing photography professionally?

I had my first show, my first sale to Ralph Lauren—everything—in 2008.

How do you think your work has grown or changed in the last decade?

I see graphically a sophistication, and a sort of awareness of what I’m doing, particularly in post-production, within this media. I also feel my thinking has broadened, not for the 8 ½ x 11 ½ page, but large-scale images. It’s not a price factor with me, as much as it is the impression that the image leaves. So, if I could, I’d do everything in large, large scale.


I love the impact. I love that you step into the subject matter, that you become one. You’re standing at the shore and the sea is at your footsteps. I love that you can step right into the stable and look right into the horse’s eyes. You and your thoughts become transported into that environment. If imagery is small, it’s confined—you dominate it. You don’t become a part of it. And with all of my work, I want the viewer to be a part of it. I want to get them thinking.

Having started with photography so late in life, how do you see your career moving forward? What do you hope for yourself?

I hope that I can continue to learn and discover the love I have for the arts. It may be taking photography and marrying it with other media; maybe I do a 360 and do photography as well as painting and putting them together. I don’t know what tomorrow will bring, but I’m very happy with today, and I think if you feel that there’s always something to learn, and something that brings excitement to your daily routine—it’s fantastic.

What do you want people to take away from your work?

I want people to work while they’re looking at my work. Yes, I want them to feel a connection, a love for the work. But I want them to write the storyline of the visual. That’s why none of my works have a name, they all have a number—because I want you to look at that piece of art and say, ‘Oh my god, that reminds me of when I was a child,’ or ‘Oh my god, I’m going through a rough time now and this gives me some peace,’ or ‘Oh my god, look at the horse.’ A woman stopped me once after she saw one of my photos and asked me ‘Where did you shoot that horse?’ I told her I didn’t know and she told me she knew the minute she saw it that it was her horse from when she was much younger. So, she kept asking me where I photographed it and I told her, finally, ‘I don’t remember but if that’s your horse, then that’s your horse.’ And she bought it. It’s those types of experiences that I want to create with my art. You write your own script—I just supply the visuals.


More of Bob Tabor’s work will be on view at the BlackBook Presents opening on November 28 through January 1, 2019 at 20 John Street in Brooklyn, NY.



2015, ‘HORSE/HUMAN: An Emotional Bond’, Glitterati

2014, ‘Dreamscapes: Finding a place to call your own’, Antique Collectors Club Distribution

2013, ‘Polo: Equine Warriors’, Antique Collectors Club Distribution

2011, Featured in Linda O’Keefe’s ‘Brilliant: White in Design’, The Monacelli Press

2010, ‘Horse Whisperings’, Antique Collectors Club Distribution



2018, Emmanuel Fremin Gallery at REVEAL International Contemporary Art Fair

2018, Contempop Gallery at Market Art + Design

2016, Contempop Gallery at CONTEXT Art Miami

2015, Contempop Expressions Galleries at Art Toronto

David Bowie’s First-Ever Demo Found in a Bread Bin


David Bowie’s long-lost first-ever demo recording of “I Never Dreamed” has been found by a former bandmate in an old bread basket. The tape is expected to sell at auction for upwards of $13,000.

In 1963, at age 16, Bowie had been mainly playing the saxophone, when he was asked to sing with his first band, The Konrads. The song was initially turned down by record labels, and the tape was thought lost until the Konrads drummer David Hadfield found it while moving back in the ’90s. He’d kept the record secret until news of the auction.

In a statement, Hadfield said:

“We had decided that we would do a couple of guitar instrumentals and one original song. I chose ‘I Never Dreamed’ as it was the strongest, the other two were a bit weak. I also decided that David was the best person to sing it and give the right interpretation. So this became the very first recording of David Jones singing 55 years ago. There is no other recording of the demo featuring David as lead in existence. Decca [the record label] initially turned us down, but when they eventually gave us an audition later that year, vocalist Roger Ferris was the lead voice and David sang backing harmonies.”

Listen to a clip of the recording below.


Sandra Oh Is the First Asian Woman Nominated For A Best Actress Emmy

Sandra Oh’s turn on Killing Eve has made history, as she’s become the first Asian ever nominated for a Best Actress Emmy Award. On BBC series she portrays Eve Polastri, a frustrated spy working for MI5.
Oh has been previously nominated 5 times for best Supporting Actress for her role as Cristina Yang on Grey’s Anatomy. 
She told Vanity Fair that when she first read the script for the show, she had thought the team were asking her to audition for the receptionist role. On the importance of Asian representation in film and television, she also said: “I’ll continue doing everything I can to fill something that I know you need right now, that we don’t yet have as a community.”
Last year, Donald Glover became the first black director to win an Emmy for Atlanta, and Lena Waithe was the first black woman to win the award for Outstanding Comedy Writing.

The 2018 Emmy Nominations Have Arrived


The 2018 Emmy nominations were announced this morning, in a livestream hosted by Handmaid’s Tale’s Samira Wiley and New Amsterdam’s Ryan Eggold. The main categories have now all been announced: for the first time in 18 years, HBO lost out on the most nominations for a network, with 108 in total to Netflix’s 112.

Game of Thrones leads with 22 nominations, followed by 21 each for Westworld and Saturday Night Live. Notable names off this year’s list: Jeffrey Tambor’s role on Transparent, after he was booted from the show, and Julia Louis-Dreyfus in Veep, after filming was put on hiatus while she underwent treatment for cancer.

As predicted, frontrunners for Best Actress like Elisabeth Moss in Handmaid’s Tale, Claire Foy in The Crown, and Tatiana Maslany in Orphan Black all scored noms. Sandra Oh also received recognition for season 1 of Killing Eve. Sarah Paulson scored a nom for American Horror Story and Laura Dern for The Tale, as well as Darren Criss for American Crime Story and Jesse Plemons for Black Mirror.  Newcomer HBO comedy Barry earned a Best Comedy and Best Actor nom for Bill Hader.

Drag Race scored a nom in the Best Reality Series category, and all the regulars like Westworld, Atlanta, Handmaid’s Tale, and Stranger Things found noms in their respective Comedy and Drama categories.

The 2018 Emmys will take place on September 17, hosted by Colin Jost and Michael Che. Full list via live-stream here.

Lead Actor in a Limited Series or TV Movie
Antonio Banderas, Genius: Picasso
Darren Criss, The Assassination of Gianni Versace: American Crime Story
Benedict Cumberbatch, Patrick Melrose
Jeff Daniels, The Looming Tower
John Legend, Jesus Christ Superstar
Jesse Plemons, Black Mirror: USS Callister

Lead Actress in a Limited Series or TV Movie
Jessica Biel, The Sinner
Laura Dern, The Tale
Michelle Dockery, Godless
Edie Falco, Law & Order True Crime: The Menendez Murders
Regina King, Seven Seconds
Sarah Paulson, American Horror Story: Cult

Lead Actor in a Comedy Series
Anthony Anderson, Black-ish
Ted Danson, The Good Place
Larry David, Curb Your Enthusiasm
Donald Glover, Atlanta
Bill Hader, Barry
William H. Macy, Shameless

Lead Actress in a Comedy Series
Pamela Adlon, Better Things
Rachel Brosnahan, The Marvelous Mrs. Maisel
Allison Janney, Mom
Issa Rae, Insecure
Tracee Ellis Ross, Black-ish
Lily Tomlin, Grace and Frankie

Lead Actor in a Drama Series
Jason Bateman, Ozark
Sterling K. Brown,This Is Us
Ed Harris, Westworld
Matthew Rhys, The Americans
Milo Ventimiglia, This Is Us
Jeffrey Wright, Westworld

Lead Actress in a Drama Series
Claire Foy, The Crown
Tatiana Maslany, Orphan Black
Elisabeth Moss, The Handmaid’s Tale
Sandra Oh, Killing Eve
Keri Russell, The Americans
Evan Rachel Wood, Westworld

Reality/Competition Series
The Amazing Race
American Ninja Warrior
Project Runway
RuPaul’s Drag Race
Top Chef
The Voice

Variety Sketch Series
At Home with Amy Sedaris
Drunk History
I Love You, America
Saturday Night Live
Tracey Ullman’s Show

Variety Talk Series
Full Frontal with Samantha Bee
Jimmy Kimmel Live!
Last Week Tonight
The Daily Show with Trevor Noah
The Late Late Show with James Corden
The Late Show with Stephen Colbert

Limited Series
The Alienist
The Assassination of Gianni Versace: American Crime Story
Genius: Picasso
Patrick Melrose

Comedy Series
Curb Your Enthusiasm
The Marvelous Mrs. Maisel
Silicon Valley
Unbreakable Kimmy Schmidt

Drama Series
Game of Thrones
The Handmaid’s Tale
Stranger Things
The Americans
This Is Us

The First Trailer for ‘The Miseducation of Cameron Post’ is Amazing


The first official trailer for the long anticipated gay conversion therapy drama The Miseducation of Cameron Post is finally here, and it looks incredible.

Chloë Grace Moretz and Sasha Lane star in the provocative flick, which took home the Grand Jury prize at this year’s Sundance Film Festival.

Directed by Desiree Akhavan and based on the novel by Emily M. Danforth, the film follows Cameron’s journey to a conversion therapy camp after being discovered hooking up with a girl on prom night. It’s set in the 90s at a place called ‘God’s Promise.’

The Miseducation of Cameron Post opens August 3.


Reese Witherspoon is Getting Her Own Interview Series


Reigning high priestess of Middle-Earth, her Fairness Reese Witherspoon, has landed her own interview show.

Indeed, he’ll be launching the new video-on-demand series Shine On With Reese on July 17 through her production company Hello SunshineOn the program, she’ll interview living legends like fellow Oscar-winner Ava DuVernay and country icon Dolly Parton, as well as author Glennon Doyl and World Cup champion Abby Wambach.

The interviews will take place on location, in subjects’ homes and on the front lines. Shine On will premiere on DirecTV, DirecTV Now and U-Verse on the Hello Sunshine VOD channel one week form today.

Witherspoon told Deadline: “I am thrilled to have such like-minded creative collaborators at AT&T to help Hello Sunshine pursue our mission of elevating and showcasing the voices of women that we have such admiration and respect for.”

Disney & UN Foundation’s ‘Girl Up’ Will Train 21 New Female Filmmakers


Disney has partnered with the UN Foundation’s Girl Up Team to help teach a new generation of female filmmakers.

21 young women have been selected to take part in the program, where they’ll each create a short film about successful female role models. One such subject is Jennifer Lee, the Oscar-winning writer/ director of Frozen who was recently promoted to chief creative officer of Disney studios. The other short subjects have not yet been revealed.

Apple is also sponsoring the project, titled #DreamBigPrincess, and each film will be shot on an iPhone and edited on a MacBook.

Lee said in a statement: “Using the journeys of characters like Anna, Elsa and Moana to inspire kids to dream big is at the very heart of what all of us at Disney do. The #DreamBigPrincess series is the perfect extension of that vision, providing a powerful platform for the next generation of aspiring filmmakers to create content about the women who have inspired them.”