Chris ‘Zeke’ Hand in conversation with Billy Mavreas, artist, gallery owner, cartoon blogger, ‘zinester, scenester and general man-about-town. In this episode Billy talks about his influences, differences betweeen street and school, triangle forests, the local art scene vesus the internet, how good artists should be decent people, talking about art, death, removing marks from the public domain, tagging, the Montreal artist Stare, accidental typefaces, how he knows when a piece is completed, his airline knife collection, and being a format queen.
Back in May I went to the vernissage for the Invisible show at The Long Haul / Le Corrid’art. It was the day after I had bought my video camera, so obviously I had to film it… With a little bit of luck and some practice my filmmaking skills will get better.
Episode 296 [8:36]
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The pieces in order seen:
Kate Puxley
Still Life with Mouse
Taxidermy tilapia, bird and mouse, various plastics, Plexiglas, wire
2011
Kate Puxley
Senza Terra: Rat
Taxidermy rat and shadow box
2010
Suzanne Desbiens
Burqa ou Bikini ?
Technique mixte sur masonite
2011
Marc Knowles Studio 3
Unseen Polar Phenomenon 3
Acrylic, ink and household latex paint on wood
2011
Vanessa Yanow
Cashmere
Inherited sweater, lint roller and gel medium
2011
Dan Svatek & Rosalie Chrétien
Parallax Rosalies
Acrylic, oil, sparkles and jellybeans on canvas
2011
Vanessa Yanow
Collaborating with Her Story — Incarnation III (Anon.)
Unfinished anonymous embroidery project, flame-worked glass, kiln-formed and etched glass, paint, ink, copper wire, embroidery thread, needles, linen on wood and photograph mounted on Plexiglas
2011
Samantha Purdy
Broadcast
Cross-stitch, paper clips, tapestry wool, felt on Aida cloth
2011
Madeleine Mayo
A Sad Lovesong
Oil on canvas
2011
Stephen H. Kawai
A Device that Sucks the Darkness from the World, Makes It Invisible and Turns It into Salt
Glass, hematite, onyx, rutilated quartz, wire, salt
2011
Jocelyne Pronovost
L’indivisible tourment de l’être humain
Contenant de métal, peinture acrylique et graphite
2011
Chris ‘Zeke’ Hand in conversation with Billy Mavreas, artist, gallery owner, cartoon blogger, ‘zinester, scenester and general man-about-town. In this episode Billy talks about his creative process and found paper.
Chris ‘Zeke’ Hand in conversation with Billy Mavreas, artist, gallery owner, cartoon blogger, ‘zinester, scenester and general man-about-town. In this episode Billy talks about his future plans, how he met Emilie O’Brien, accumulating and some of the difficulties he has encountered.
Chris ‘Zeke’ Hand in conversation with Billy Mavreas, artist, gallery owner, cartoon blogger, ‘zinester, scenester and general man-about-town. In this episode Billy talks about the beginnings of his artistic career and Monastiraki, the art gallery.
Chris ‘Zeke’ Hand in conversation with Billy Mavreas, artist, gallery owner, cartoon blogger, ‘zinester, scenester and general man-about-town. In this episode Billy talks about how he got started.
Since I was talking about licensing images yesterday, I figured it would dovetail nicely with these three images…
Russell Young copying Damien Hirst with a bootleg image of Marilyn Monroe, I think...An unknown artist's painting of TintinCrappy close-up of an unknown artist's painting of Tintin
Last week I was walking along Greene Avenue when I saw these magnificent paintings in the window of the Galerie de Bellefeuille. While I don’t think there is a patent on spraying diamond dust on silkscreen prints, I would bet dollars to doughnuts that Russell Young is not paying any royalties to the Michael Ochs Archives or Getty Images for his use of their photograph. (Which if I did the drop down boxes properly would cost somewhere around $600)
And while I’m not entirely certain (after all I did take a crappy and blurry picture) but it certainly does look like a painting of Tintin, and again I would bet dollars to doughnuts (Tim Horton’s even!) that someone forgot to cut a check to Paramount Pictures for their royalties…
I initially bookmarked this back in May, specifically May 7 to be exact (and redundant). And it has garnered exactly 36 views since then. There are videos of people picking their noses that have been seen more times than that!
But I digress, as David Giral’s website is so obviously set up to sell his pictures, I naturally clicked on some links wanting to get an idea of how much he wanted for an 8×10, or something along those lines. So I clicked on the “buy image” button, and the first thing I was asked to do was to “Select a usage region.” After that I was asked to answer seven (7!) other questions via drop down menus. None of them offering a simple 8×10. But that’s not my problem, M. Giral only wants to sell to businesses. Which is fine. But if he really thinks that there is someone somewhere who wants a five-year worldwide license (and once I clicked on worldwide, it still asked me for a “sub-region”) to display his photo of Affinité by Hans Schleeh on one JumbroTron (doesn’t he know that they stopped making them in 2001?) and is willing to give him $3,059.28 (why not an even $3K?) I have some swampland in Florida that he might just be interested in purchasing from me…
And if I am wrong and there is some sucker who wants to pay more than $3,000 for the permission to display David Giral’s photo of Affinité by Hans Schleeh, I want to know how much is he paying in royalties to Schleeh Design? Who I think is the company that owns the rights to Affinité by Hans Schleeh.
Affinité by Hans Schleeh, photo by David Giral” title=”Affinité by Hans Schleeh, photo by David Giral” width=”372″ height=”560″ class=”size-large wp-image-2673″ />