User talk:Marlboroughgallery

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" with your reasons to be unblocked. In your reasons, you must:

Disclose any compensation you may receive for your contributions in accordance with the Wikipedia:Paid-contribution disclosure requirement.
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This user's request to be unblocked to request a change in username has been reviewed by an administrator, who declined the request. Other administrators may also review this block, but should not override the decision without a good reason (see the blocking policy). Do not remove this unblock review while you are blocked.

Marlboroughgallery (block log • active blocks • global blocks • autoblocks • contribs • deleted contribs • filter log • creation log • change block settings • unblock • checkuser (log))

Requested username:

marlboroughm (talk · contribs · deleted contribs · logs · filter log · block user · block log)

Request reason:

I was editing pages on behalf of my company but was not receiving compensation for doing so nor was I promoting my business on the pages I was editing. I have requested this change because I still need access to edit certain pages but do not mean to violate the terms of usage. Marlboroughgallery (talk) 21:59, 17 September 2022 (UTC)[reply]

Decline reason:

I'm not certain your choice of new username is an improvement. Since you say you edited on behalf of your employer, you are a paid editor, you do not have to be specifically paid for edits. Please read WP:COI and tell us how your future edits will be consistent with that policy, as well as any other topics you might edit about as a general contributor. I am declining your request. 331dot (talk) 23:15, 17 September 2022 (UTC)[reply]

Thank you for sharing this page. I understand that according to the terms, I am considered to be a paid editor. With this, I would like to know if I am still able to edit pages. I assure that all changes I make will not be biased in any way, nor will they promote my company's interests. All edits I make will be factual, neutral, and will provide more information on the subjects edited. — Preceding unsigned comment added by Marlboroughgallery (talk • contribs)

This user is asking to be unblocked to request a change in username.

Marlboroughgallery (block log • active blocks • global blocks • contribs • deleted contribs • filter log • creation log • change block settings • unblock • checkuser (log))

Requested username:

artickr18 (talk · account availability check · rename user)

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Your reason here

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Marlboroughgallery (talk) 14:22, 21 September 2022 (UTC)[reply]

Thank you for sharing this page. I understand that according to the terms, I am considered to be a paid editor. With this, I would like to know if I am still able to edit pages. I assure that all changes I make will not be biased in any way, nor will they promote my company's interests. All edits I make will be factual, neutral, and will provide more information on the subjects edited. Marlboroughgallery (talk) 14:24, 21 September 2022 (UTC)[reply]

(Non-administrator comment) Please, only one open {{unblock}} request at a time. Also, please place new messages at the bottom of the page to preserve the correct chronological order of the discussion. Thanks. --Drm310 🍁 (talk) 15:53, 21 September 2022 (UTC)[reply]

Thank you. Can you assist in unblocking me? Marlboroughgallery (talk) 15:54, 21 September 2022 (UTC)[reply]

Only an administrator can evaluate your unblock request, and I am not an administrator. You will simply have to be patient and wait for one to respond. We are all volunteers here, contributing when time allows. --Drm310 🍁 (talk) 15:55, 21 September 2022 (UTC)[reply]

I understand. Thank you! Marlboroughgallery (talk) 16:06, 21 September 2022 (UTC)[reply]

Conflict of interest

Well, first, what is your connection? You've said "my company" ... could you elaborate on that? And if you read both the short and long versions of our conflict of interest policy, you'd realize that you probably wouldn't be able to edit an article about your company in any way. So, if you can't do that, what would you edit? Daniel Case (talk) 06:18, 22 September 2022 (UTC)[reply]

Hi Daniel, I work at a fine art gallery. I am not the owner, I am an employee. I don't intend to edit articles about the gallery. I would like to edit pages on the artists that we represent; my boss had given me the task to edit the page on the artist Eduardo Arroyo which is how my account became indefinitely blocked, as I used the gallery name as my username. I don't intend to use the artist pages to promote the gallery in any way. What I would like to do is simply to provide more general information on the artists including adding a more holistic bibliography and contextualizing their work. Marlboroughgallery (talk) 19:48, 22 September 2022 (UTC)[reply]

Editing articles about artists whose work is displayed in your employer's gallery would amount to a very significant conflict of interest. You would need to be very up front about your connection to them, and probably make proposals on the talk pages rather than edit them yourself. Can you describe the changes you want to make there - what prose do you want to add, and what sources would you use to support if? You may wish to read WP:V and WP:RS before responding. Girth Summit _(blether) 10:07, 25 September 2022 (UTC)[reply]

I'm really not sure I understand..."Editors with a conflict of interest are permitted to contribute to Wikipedia, so long as they abide by other policies and guidelines, including avoiding controversial edits on articles where they have a conflict."

I AM disclosing my conflict of interest and have assured you that I wish only to provide historical context on the artists and their works.

We hold an extensive library on Eduardo Arroyo in our gallery. We also recently received a comprehensive essay on the artist by an Art History professor, whose works cited can be found as follows:

[1] Jorge Semprún, Bleiche Mutter, zarte Schwester [Pale mother, tender sister], trans. Hanns Zischler (Kunstfest Weimar, 1995); translated into French as Le retour de Carola Neher (Paris: Gallimard, 1998). Performed in the Soviet military cemetery near Weimar, this was inspired by Semprún’s personal memoirs of Buchenwald concentration camp, Literature or Life (New York: Penguin, 1998) translated by Linda Coverdale from the original French l'Écriture ou la vie (1994). The German title is a reference to Bertolt Brecht’s 1933 poem O Deutschland, bleiche Mutter! [O Germany, pale mother!].

[2] Sarah Wilson, ‘Of lettuces and kings: the killer quotations of Eduardo Arroyo,’ keynote lecture, Association of Hispanists of Great Britain and Ireland, University of Durham, England, 8 April 2019.

[3] See Eduardo Arroyo, Panama Al Brown, 1902-1951 (Paris: Editions Jean-Claude Lattès, 1982; many re-editions) and Eduardo Arroyo: Knock-Out (1969-1996) (Lausanne: Musée Olympique, 1997) in French and English.

[4] Eduardo Arroyo, Madrid, Museo Nacional Centro de Arte Reina Sofía, the most comprehensive study up to 1998 (10 February – 13 April), includes photographs of Arroyo’s major stage sets, mostly in collaboration with the great director Klaus Michael Grüber, who would later join Arroyo and artist friends in the famous communal studio complex in Paris, La Ruche. The affinity between Spain and Germany dates to the period of Habsburg rule, preceding their shared experience of fascism.

[5] Johann Wolfgang von Goethe, Faust-Salpêtrière, trans. Gérard de Nerval and Henri Lichtenberger (Paris: Christian Bourgois Éditeur, 1975), referring to the 1974-75 production directed by Grüber, performed in the chapel of Saint-Louis de la Salpêtrière (the former women’s prison and hospital), Paris.

[6] Arroyo in Maurice Tuchmann, ed., European Painting in the Seventies: New Work by Sixteen Artists (Los Angeles: Los Angeles County Museum of Art, 1975), 45.

[7] The World Goes Pop, London, Tate Modern, 2015; International Pop, Minneapolis, Walker Art Center, 2015 (travelling to the Philadelphia Museum of Art); Ludwig Goes Pop + The East Side Story, Budapest, Ludwig Museum, 2015-16 (no catalogue).

[8] Simón Marchán Fiz, ‘Più-Pam-Pop: Reflections on Pop Art,’ in Reflejos del Pop / Reflections of Pop, ed. Lourdes Modeno (Málaga: Fundación Palacio de Villalón, 2016), Museo Carmen Thyssen, 17 March – 4 September 2016. Umberto Eco’s writing on mass culture, Apocalipticos e integrados (Milan: Casa Editore Valentino Bompiani, 1964; Barcelona: Lumen, 1968) was important. See also Michelle Vergniolle-Dellale, Peinture et oppositions sous le franquisme (Paris: L’Harmattan, 2005).

[9] Arroyo mentions his admiration for this stance in Trente-cinq ans après (Paris: Union Générale d'Éditions, 1974), 9.

[10] Jean-Paul Ameline, ed., Figuration Narrative: Paris, 1960 -1972 (Paris: Réunion des Musées Nationaux, 2008) and Ameline with Yan Schubert, eds., The Narrative Figuration (Geneva: Fondation Gandur pour l’Art; Milan: 5 Continents Editions, 2017); see also Sarah Wilson, The Visual World of French Theory: Figurations (London: Yale University Press, 2010), https://www.aaeportal.com/publications/-20753/the-visual-world-of-french-theory--figurations.

[11] Mireya E. Lewin, Antoni Tàpies and Cultural Identity: Between the National and the International (PhD dissertation, Courtauld Institute of Art, University of London, 2009), examines the Spanish artist within the competitive discourse of the grand homme still prevalent in Spanish and French culture: see Maurice Godelier’s anthropological study, Le production des grands hommes: Pouvoir et domination masculine chez les Baruya de Nouvelle-Guinée (Paris: Fayard, 1982).

[12] ‘My head filled with the terrible Argentine translations of Faulkner, Hemingway, Dos Passos, Caldwell, Lewis…’ Arroyo in J. F. Years, ‘Sparks in the Wind,’ in Knock-Out, 11.

[13] The H-Bomb fallout incident (which could have contaminated the sea) is added to Arroyo’s Trente-cinq ans après, 25, prior to the photos of Nixon’s 1970 visit which also feature in 30 Jahre danach, 30 ans après (Frankfurt: Frankfurter Kunstvverein, 1971), see note 17.

(NB I took out the semi-colon after 25 and comma after Nixon’s visit - ie hydrogen bomb incident (AMAZING!!) is only mentioned in Trente-cinq ans après – punctuation crucial here!)

[14] Stephen Locke, ‘Klaus Michael Grüber,’ The Drama Review 21, no. 2 (June 1977), 45-58. See also

https://archivio.piccoloteatro.org/eurolab/index.php?IDtitolo=130.

[15] Eduardo Arroyo, Miró refait ou les malheurs de la coexistence, Rome, Galleria Il Fante di Spada, from 11 November 1967, with Miró reproductions (see no. 9), preface by Gilles Aillaud.

Ie my text refers to painting no 9 in this catalogue

[16] Miró refait ou les malheurs de la coexistence, with Gilles Aillaud’s preface of October 1967 in the original French, Paris, Galerie André Weill, 14 February – 2 March 1969.

[17] Arroyo, 30 Jahre danach, 30 ans après, Paris, L’A.R.C., Musée d’Art Moderne de la Ville de Paris, 2 – 28 March 1971; Frankfurt, Frankfurter Kunstverein, 16 April – 23 May 1971; Berlin, Neue Gesellschaft für Bildende Kunst, 7 October – 5 November 1971; catalogue in German and French.

[18] Eduardo Arroyo, London, Crane Kalman Gallery, 4 November – 8 December 1962; this mentions 8 Parisian Painters, Baden-Baden, Mannheim, and Hamburg, with a printed review by Edouard Roditi, Arts, New York, January 1962. A separate invitation card is for Miguel [sic] Arroyo and Giacomo Baragli (sculptures), 13 November – 8 December 1962.

[19] Eduardo Arroyo, Madrid, Galería Biosca (with the Crane Kalman Gallery, London, and the Galerie Claude Levin, Paris), 17 October – 20 November 1963. See Fabienne Di Rocco in The Narrative Figuration, 56-7.

[20] Arroyo, Abattoir (‘Slaughterhouse’), in Troisième Biennale de Paris, 23 September – 3 November 1963 (Paris: Musée d’Art Moderne de la Ville de Paris, 1963), no. 220, 170. (A hugely international show including Eastern bloc, African, and South American countries, the USSR, Israel—and Spain).

[21] Mythologies quotidiennes, Paris, Musée de la Ville de Paris, July – October 1964. See Wilson, The Visual World, 73-4.

[22] Nieuwe Realisten, The Hague, Haags Gemeentemuseum, 24 June – 30 August 1964; Pop etc., Vienna, Museum des 20. Jahrhunderts, 19 September – 30 October 1964; Neue Realisten & Pop Art, Berlin, Akademie der Kunst, 20 November 1964 – 3 January 1965; Pop Art – Nouveau Réalisme – etc., Brussels, Palais des Beaux-Arts, 5 February – 1 March 1965. Hugely important, US loans; neglected by Pop historians.

[23] See the Seizième Salon de la Jeune Peinture, Paris, Musée d’Art Moderne de la Ville de Paris, January 1965, and the Bulletin de la Jeune Peinture, 1965-1967.

[24] Une passion dans le désert, Paris, Galerie Saint-Germain, January 1965 (Un roman, une exposition, Maison de Balzac, 2017, http://linkaewa.over-blog.com/2017/07/une-passion-dans-le-desert-chez-balzac.html).

[25] Arroyo mentions celebrations in October 1964 of the 25th anniversary of Victory and the exhibition Spanish Art in the 25 Years of Peace involving 326 artists, in Trente ans après, 59.

[26] ‘L’Espagne n’existe pas. Elle se fait…certains avec rage, avec insolence, par la parole, par la plume, par le pinceau—maniés comme un couteau, comme un marteau, comme un ciseau—ont entrepris de démolir des mythes.’ Jorge Semprún, 25 ans de paix, Paris, Galerie André Schoeller; Toiles récentes, Paris, Galerie Bernheim Jeune, 6 – 29 May 1965 (unpaginated).

[27] Gérald Gassiot-Talabot, La Figuration narrative dans l’art contemporain, Paris, Galerie Creuze, 1 – 29 October 1965.

[28] ‘Mieux vaut travailler sans signer que signer sans travailler,’ quoted in Gassiot-Talabot, ‘Persistent et signent,’ Opus International 49 (March 1974), 97-99.

[29] Critic Alain Jouffroy credits Arroyo with the spiral idea in ‘La Grande Spirale,’ Ezio Gribaudo, ed., Mural Cuba Colectiva 1967, Salon de Mai (Turin: Edizione d’Arte Fratelli Pozzo, 1970), unpaginated; (see Wilson, The Visual World, 38-9, for the Paris showing, 1968).

[30] See Gassiot-Talabot et al., Bande dessinée et figuration narrative, histoire, esthétique, production et sociologie de la bande dessinée mondiale, procédés narratifs et structure de l’image dans la peinture contemporaine, Paris, Musée des Arts Décoratifs-Palais du Louvre, 1967.

[31] See the Coopérative des Malassis, Qui tue? ou l’affaire Gabrielle Russier [Who kills? or the Gabrielle Russier affair], 1970; Appartemensonge [The flat lie], 1971; and Le Grand Méchoui [The Great Méchoui—or twelve years of history], 1972; all Musée des Beaux-Arts de Dole.

[32] See Wilson, The Visual World, 29-33.

[33] See MONUMENTE, Düsseldorf, Städtische Kunsthalle, 26 June – 12 August 1973; Enrico Baj, Christian Boltanksi, Jean-Olivier Hucleux, Edward Keinholz, Michael Sandle, and the Live and Let Die and Datcha painters around Arroyo.

[34] See Alfred Pacquement, ‘Films d’artistes,’ in François Mathey, ed., Douze ans d’art contemporain en France (Paris: Grand Palais, 1972), 89-93.

[35]See Wilson, ed., Gilles Deleuze, Michel Foucault, Gérard Fromanger, Photogenic Painting (London: Black Dog Publishing Ltd., 1999).

[36] Salle rouge pour la Vietnam, Paris, Musée d’Art Moderne de la Ville de Paris, 17 January – 23 February 1969; see Wilson, The Visual World, 101, 102, 229.

[37] Edouardo Arroyo, Opere et operette, Milan, Galleria arte Borgogna, February 1973, with its photographic cover of a female star with badges. Bohème II appears as La somnambula Maria Grazia Vincenzo No. 3, 1972 (referring to Bellini’s opera, not Puccini’s La Bohème); Picabia’s Portrait de femme, 1940 is reproduced as from Arroyo’s collection in Eduardo Arroyo, 1982, 35. It was sold by Piasa, 7 May 2019, lot 16.

[38] Arroyo declares he was appointed to the Venice Biennale jury in August 1974 with the 1976 Spanish exhibition in mind; see ‘Sei tu fra quelli che guardano o quelli che mettono ma mani in pasta?,’ preface to Attualità internazionali, ’72-76, Giudecca, Venice, 18 July – 10 October 1976; the selection committee also included Enrico Crispolti, Raffaele de Grada, and Pontus Hultén; typescript, Bibliothèque Kandinsky, Paris, translated into French in Eduardo Arroyo, Paris, Centre Georges Pompidou, 1982, 24-5.

[39] ‘La Turquie n’es pas Egypte et Egypte n’est pas l’Egypte ancienne, mais le tiers monde commence à Kreuzberg.’ Jean-Christophe Bailly, ‘Exile,’ in Grazia Eminente – Eduardo Arroyo Kreuzberg, 1976 (Berlin: Berliner Künstlerprogramm, 1976), unpaginated.

[40] Arroyo, ‘Berlin, hiver 1975-1976’; statement of October 1987, in Eduardo Arroyo: Berlin, Tanger, Marseille, ed. Germain Viatte, Marseille, Musée Cantini, 12 February – 11 April 1988 (touring to the Musée d’Art et d’Histoire, Belfort, 21 May – 7 July 1988. See also Juan Goytisolo, ‘Berlin, Tanger, Le Sentier, La Tate Gallery,’ 11-13.

[41] Arroyo shared the Berlin artists’ program invitation with Chihiro Shimotani from Japan. See also En souvenir de Kreuzberg 1976, Paris, Fondation Nationale des Arts Graphiques et Plastiques, 7 – 30 April 1978.

[42] See Valeriano Bozal et al., España: Vanguardia artística y realidad social, 1936-1976 (Barcelona: Editorial Gustavo Gili, 1976).

[43] Francesc Mestre, ‘The Venice Biennale of 1976 as a Symptom,’ Mirador de les arts, 20 March 2019; the exhibition moved to the Miró Foundation, Barcelona, December 1976 (recreated at IVAM, Valencia, September 2018). https://www.miradorarts.com/the-1976-venice-biennale-as-a-symptom/. This includes the link to the IVAM film with curator Sergio Rubira, https://www.youtube.com/watch?v=7DfLKbk2L0w.

[44] See Il pittore de Monaco, 1967; Arroyo personale, Milan, Studio Bellini, from 26 February 1968, with two versions of the work in Milan, La Bussola, 1968, both preceding Miró refait in Paris 1969 (see note 16). Munich is restored and the source, Heinrich Hoffman’s photo of Hitler, reproduced in Eduardo Arroyo, Blinder Mahler und Exil, Munich, Lehnbachaus, 26 March – 4 May 2012.

[45] Churchill Painter, Brussels, Galerie Withofs, 11 December 1969 – 2 January 1970.

[46] See Gilbert Lascault, De l’exil ou le suicide dans la Dvina (Paris: Éditions Karl Flinker, 1978) accompanying the exhibition Retour des exilés, 2 May – 4 June 1978. (Arroyo’s appropriation of Lubetkin’s penguin pool at London Zoo for the background of Ganivel’s suicide has been ignored by all critics). José Maria Blanco White (his English texts translated by Juan Goytisolo) came to a sad end in England, see https://uudb.org/articles/josemariablancowhite.html.

[47] See Lya de Putti in The Prince of Tempters (dir. Lothar Mendes, 1926).

[48] Various Types of Reactionary Spanish Moustaches… in 30 anni dopo, Milan, Galleria d’Arte Borgogna, from 8 October 1970. This and many works are reproduced in full colour; 30 Jahre danach/Trente ans après (Paris and Frankfurt, 1971) is in black and white.

[49] The first show of sweeps was at the Galerie Maeght, Zurich, 1980. See Fabienne Di Rocco, Eduardo Arroyo et le Paradis des mouches (Paris: Éditions Galilée, 2017) for the recollections of miners of Robles de Laciana, 99.

[50] See a top-hatted sweep depicted in the exhibition posters for Arroyo, Paris, Galerie Karl Flinker, 1974, and Arroyo, Zurich, Galerie Maeght, 1980, in Elisa Farran, ed., La Nuit espagnole (Saint Rémy: Musée Estrine, 2014), 15.

[51] Fantômas’s adventures were recounted by Pierre Souvestre and Marcel Allain: thirty-two novels appeared between 1911 and 1913. Maurice Leblanc published Arsène Lupin, gentleman-cambrioleur in 1905 (adventures to 1941); see also Arroyo’s important text, ‘Portrait d’un boxeur en smoking,’ in Eduardo Arroyo, (Paris: Centre Pompidou, 1982), 32.

[52] Presentation of 19 works (eight Sweep sculptures) opening 28 March 1984, New York, Solomon R. Guggenheim Museum; some works reappear in Eduardo Arroyo, Milan, Gastaldelli Arte Contemporanea, October 1984; the catalogue for Eduardo Arroyo, Villeurbaine, Hôtel de Ville, 8 March – 13 April 1985, engages most poetically with the sweeps.

[53] Eduardo Arroyo, New York, Leonard Hutton Galleries, 24 March – 26 May 1983; thirty-six numbered exhibits, following Eduardo Arroyo, Paris, Centre Georges Pompidou, 9 October – 29 November 1982, reviewed by Gérard Georges Lemaire for Artforum, January 1983, 84.

[54] See María Zambrano, Eduardo Arroyo: esculturas (Madrid: Galería Gamarra Garrigues, 1987).

[55] See the ‘robber’s mask,’ Masque de de voleur de banque noir, at party.fr.

[56] Arroyo et Balzac, Madrid, Institut Français, 2015; La Comédie humaine, Balzac par Edouardo Arroyo, Paris-Musées, Maison de Balzac, 5 February – 20 May 2020.

[57] Une passion dans le désert. Un roman, une exposition, Paris, Maison de Balzac, 27 January – 1 October 2017. (The series was shown by Germain Viatte in Marseille, La Vieille Charité for the pioneering exhibition Peinture-Cinéma-Peinture, 1989).

[58] Balzac lived at 14 rue Fortunée (now 22 rue Balzac) between 1847 and 18 August 1950, the day of his death (the original building has been demolished).

[59] Arroyo, Dans des cimetières sans gloire: Goya, Benjamin et Byron-boxeur, trans. Di Rocco (Paris: Grasset, 2004); Di Rocco, Eduardo Arroyo et le Paradis des mouches, complements the biographical elements notably in Arroyo’s Sardines à l’huile (Paris: Plon, 1989) and Minutes d’un testament (Paris: Grasset, 2010); the latter, as is all his later work, with Di Rocco’s translation from the Spanish publications.

[60] Ludwig Wittgenstein, Philosophical Investigations (posthumously published in 1953) paragraph 309, quoted in Dans des cimetières sans gloire, 136.

[61] Arroyo on ‘Le paradis des mouches,’ Dans des cimetières sans gloire, 134-136

[62] See https://www.domaine-chezelles.com/blog/napoleon-et-les-abeilles-une-histoire-dor/.

[63] Arroyo’s trio was in inspired by André Malraux, Le Triangle noir, Laclos, Goya, Saint-Just (Paris: Gallimard, 1970); see also Malraux, Saturne, essai sur Goya (Paris: Nouvelle Revue Française, 1950), and the luxury volume Goya (Paris: Gallimard, 1978). Arroyo created ten lithographs for Malraux’s Oraisons funèbres (Paris: Éditions Michèle Trinckvel, 1985).

[64] ‘Goya fait le portrait du paradis des mouches, cette Espagne inquiétante et inquiète que nous pouvons toucher encore aujourd’hui et qui toujours vit en nous. Le peintre impose sa vision de l’Espagne, et l’oblige à se refléter dans le miroir apparemment déformant, mais terriblement réaliste, parce que Goya focalise [pour employer un terme actuel]. Il y a plus de la lumière, c’est une exaspération, un projecteur, une illumination continue. Un sol y sombra déchiré, teinté de rouge et de noir, et arrosé de sang.’ Arroyo, Dans des cimetières sans gloire, 50. Marlboroughgallery (talk) 14:20, 27 September 2022 (UTC)[reply]

Do you understand that with a conflict of interest, you must refrain from making substantive changes to the article? You can make minor corrections to spelling, grammar, numbers, names, and dates. You can add citations to reliable published sources that are independent of your company or the subject of the article. You can revert obvious vandalism. For any changes more substantive than that, you would need to propose those changes on the article talk page for other editors to review. You can preface your proposal with the template {{request edit}} to cause your request to be listed on a category page that is monitored by other editors. ~Anachronist (talk) 20:07, 27 September 2022 (UTC)[reply]

You have quoted very selectively from the WP:COI guidance there. Here is another quote from it: COI editors are strongly discouraged from editing affected articles directly, and can propose changes on article talk pages instead. A list of all the other publications written by your art historian is not necessary; if the essay you intend to use as a source has been published, just give us a citation to that publication so we can establish whether it is suitable for use here. If it has not been published, it is not usable. Girth Summit _(blether) 09:40, 28 September 2022 (UTC)[reply]