Instruct: Given a question, retrieve relevant passages that answer the question.
Query: What was Colette Justine's first art installation?
Colette's first performance/photo work took place in 1970 when she had herself photographed as "Liberty Leading the People" after Delacroix. She presented this work to the public in 1972. In an installation, composed of white parachute silk, embedded lighting, [lightboxes, lavender-painted floors inscribed with her personal code and audios, she posed as Liberté. This tableau vivant could also be viewed from the windows of the gallery. Fred McDarrah photographed it for "The Village Voice" in January 1973.
Koether’s 2009 show entitled "Lux Exterior" at Reena Spaulings further explored a common thematic in her work, the relation of painting with other aspects of theoretical and counter culture. Koether’s 2009 show was discussed in David Joselit’s essay entitled "Painting Beside Itself". The exhibition, which included a painting entitled "Hot Rod (after Poussin) (2009)" along with sculptural found objects and a series of three performances, was noted by Joselit as a “sophisticated response to the question which I began [this essay]: How does a painting belong to a network?”
Colette Hiller is an American actress who starred on film, theatre and television. She attended the Performing Arts Academy in New York as a teenager, and appeared in the original musical play of "Annie", and in other films and plays such as "The Lonely Lady", "Ragtime", "Strong Medicine", and "Birth of the Beatles". She played Corporal Ferro in the 1986 film "Aliens". Colette Hiller has also worked for the BBC, creating documentaries such as "Too Clever by Half" and the children's music cassette "Applehead".
This set the tone for a glittering series of important exhibitions, such as the "Première Exposition d’Art Nègre et d’Art Océanien", organized by Paul Guillaume, 13–19 May 1919, with a catalogue by Henri Clouzot and additional text by Guillaume Apollinaire. Apollinaire, who died the previous year, had collaborated with Paul Guillaume on the pioneering study "Sculptures Nègres" in 1917. This exhibition – drawn from Guillaume's private collection - placed African art at the heart of Modernism.
Artists exhibiting at Galerie Devambez included Mary Cassatt, Armand Guillaumin, Claude-Oscar Monet, Pierre-Auguste Renoir, Auguste Marquet, Paul Signac, Raoul Dufy, Maurice de Vlaminck, Henri Matisse, Georges Braque, Pablo Picasso, Amedeo Modigliani, Tsuguharu Foujita, and Giorgio de Chirico.
During the festival Rouen Impressionnée which took place in Rouen in the summer of 2010 he paid tribute to the impressionist Claude Monet by painting "Les Jardins/The Waterlilies" series for an exhibition in the Abbatiale de Saint-Ouen. The festival was organized as the contemporary component of the Normandie Impressionniste festival, a festival under the presidency of Laurent Fabius, former French Prime Minister, celebrating the impressionist past of the region. Next to the exhibition an installation ("Camille") was built on the Boieldieu bridge, a bridge that has been painted by the impressionist painter Camille Pissarro several times.
At the 1912 Salon des Indépendants Albert Gleizes exhibited "Les Baigneuses (The Bathers)" (no. 1347) — Marcel Duchamp's "Nude Descending a Staircase, No. 2" was listed in the catalogue (n. 1001) but was withdrawn prior to the exhibition — Roger de La Fresnaye exhibited "Artillerie" (no. 1235) — Robert Delaunay showed his monumental "Ville de Paris" (no. 868) — Jean Metzinger exhibited "La Femme au Cheval (Woman with a horse)" and "Le Port" — Fernand Léger showed "La Noce" — Henri Le Fauconnier, "Le Chasseur (The Huntsman)" — and the newcomer Juan Gris exhibited his "Portrait of Picasso".
While the academic painters dominated the Salon, new artists and new movements rose to prominent prominence under Napoleon III. 
Gustave Courbet (1819–1872) was the leader of the school of realist painters during the Second Empire who depicted the lives of ordinary people and rural life, as well as landscapes. He delighted in scandal and condemned the art establishment, the Academy of Fine Arts, and Napoleon III. In 1855, when his submissions to the Salon were rejected, he put on his own exhibit of forty of his paintings in a nearby building. In 1870, Napoleon III proposed giving the Legion of Honour to Courbet, but Courbet disdainfully rejected the offer.
In 1758, a young Jacques-Jean le Coulteux du Molay (1740–1823), equerry to King Louis XV, and his wife Geneviéve –Sophie le Coulteux de la Noraye (painted below in 1788); built the chateau, his first large residence, in the heart of Normandy’s woodland countryside, close to Rouen, his birthplace. Jacques-Jean was a wealthy and well known banker, who had one son (Jacques Félix Le Coulteux du Molay was born Paris 29 June 1779 and died in Dijon 1 April 1812) with Genevieve before their divorce. During their time together they also bought the famous Malmaison near Paris – some of those styles are reflected in the chateau you now stand. Jacques-Jean later married Alexandrine Sophie Pauline Le Couteulx; the couple had three children.
The second major religious project undertaken by Le Corbusier was the Convent of Sainte Marie de La Tourette in L'Arbresle in the Rhone Department (1953–1960). Once again it was Father Couturier who engaged Le Corbusier in the project. He invited Le Corbusier to visit the starkly simple and imposing 12th–13th century Le Thoronet Abbey in Provence, and also used his memories of his youthful visit to the Erna Charterhouse in Florence. This project involved not only a chapel, but a library, refectory, rooms for meetings and reflection, and dormitories for the nuns. For the living space he used the same Modulor concept for measuring the ideal living space that he had used in the Unité d'Habitation in Marseille; height under the ceiling of ; and width .
The couple emigrated to the United States in 1960 and settled in Florida. Since that time, she has exhibited widely in Florida and Spain. October 1963: Works by Dulce Beatriz are exhibited at the "Loft on the Mile" Gallery of Art, Coral Gables, Florida. In 1971: Dulce inaugurated her gallery of paintings for the first time in Managua, Nicaragua at the Rubén Darío National Theatre (Spanish: Teatro Nacional Rubén Darío)Rubén Darío National Theatre#History. In 1972: Jean Tiroche, internationally known art dealer, collector and curator, hosts an exhibition of works by Dulce Beatriz at the 'Gallerie Jean Tiroche', Palm Beach, Florida;. On the exhibition program Mr. Tiroche wrote: "For the first time this gallery has made an exception in presenting a painter from the Spanish School since we have always been known for representing the most noteworthy Impressionists and Post-Impressionists of the Paris School.
In 2007, she created a bath tub made out of a single block of red granite from Sweden, entitled "I sink, therefore I am", a pun on René Descartes' statement, "I think, therefore I am". On the outside of the tub is a longer quote by Descartes.
On 10 May 1999, Cézanne's painting "Rideau, Cruchon et Compotier" sold for $60.5 million, the fourth-highest price paid for a painting up to that time. As of 2006, it was the most expensive still life ever sold at an auction. One of Cézanne's "The Card Players" was sold in 2011 to the Royal Family of Qatar for a price variously estimated at between $250 million ($ million today) and possibly as high as $300 million ($ million today), either price signifying a new mark for highest price for a painting; surpassed only by Leonardo da Vinci's "Salvator Mundi" in November 2017.
For Chanel's 2013 exhibition at the Palais de Tokyo in Paris, Boom created a book filled with solid white, textural pages. The 300 page book was printed devoid of ink, instead embossed with text and image creating a semi-invisible narrative for Gabrielle “Coco” Chanel. The book structure is housed in a black box. The concept behind the book was inspired by the nature of perfume—it is best understood in an olfactive, not visual, manner—and relies on lesser dominant senses to convey the essence of the Chanel N ͦ5 fragrance. Its content came from the world of Mlle. It won the Dutch Design Awards in 2013 and is part of the permanent collection at MoMA.
Degas's work was controversial, but was generally admired for its draftsmanship. His "La Petite Danseuse de Quatorze Ans", or "Little Dancer of Fourteen Years", which he displayed at the sixth Impressionist exhibition in 1881, was probably his most controversial piece; some critics decried what they thought its "appalling ugliness" while others saw in it a "blossoming". In part Degas' originality consisted in disregarding the smooth, full surfaces and contours of classical sculpture ... [and] in garnishing his little statue with real hair and clothing made to scale like the accoutrements for a doll. These relatively "real" additions heightened the illusion, but they also posed searching questions, such as what can be referred to as "real" when art is concerned. The suite of pastels depicting nudes that Degas exhibited in the eighth Impressionist Exhibition in 1886 produced "the most concentrated body of critical writing on the artist during his lifetime ... The overall reaction was positive and laudatory".
Tensta konsthall has been following three different lines of inquiry since 2013. The first concerns questions of articulation – how something is shaped and organized. The second involves art and money and the third relates to the working conditions of artists and other cultural producers. Another line is directed towards archives, libraries, and collections. Art camps, organized during school holidays, offer different kinds of art education and are led by artists. The five-part seminar series “What does an art institution do?” (2011-2012) was the result of collaboration between the gallery and the University College of Arts Crafts and Design. This has been followed up by new seminar series, formulated by questions such as “What does social practice do?” and “What does art theory do?”
Guillaume Apollinaire was one a group of poets whom Poulenc had met as a teenager. Adrienne Monnier's bookshop, the "Maison des Amis des Livres", was a meeting place for "avant-garde" writers including Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. Apollinaire, the illegitimate son of a Polish noblewoman, was described by the critic Edward Lockspeiser as the prominent leader of Bohemian life in Montparnasse. Among his achievements were to bring to prominence the painter the Douanier Rousseau, and to invent the term "surrealism", of which he was a leading exponent. In June 1917 the audience for the first performance of Apollinaire's "drame surréaliste", "Les Mamelles de Tirésias", at a theatre in Montmartre included Jean Cocteau, Serge Diaghilev, Léonide Massine, Henri Matisse, Pablo Picasso, Erik Satie, and the young Poulenc. Many years later Poulenc said that though he had been immensely amused by the farcical piece it did not occur to him at the time that he would ever set it to music.
The Millennium Arts Project, led by the Department of Public Works on behalf of Arts Queensland, was a $291.3 million project that saw the construction of the Gallery of Modern Art and the redevelopment of the State Library. It also included the development of associated public spaces and construction of a new entry to the existing Queensland Art Gallery. The construction phase was completed in 2006 and came in on time and within budget, despite a climate of escalating costs and a shortage of labour. This large and complex project called for close collaboration with a broad range of stakeholders. On site, more than 12,000 people worked on the project. There were also engineering challenges which included developing an innovative river water cooling system, the first of its kind in Queensland. The cooling system was constructed on site to assist the air-conditioning system for the Queensland Museum, Queensland Art Gallery, the new Gallery of Modern Art and the redeveloped State Library of Queensland. The initiative saw savings of about 110 megalitres of reticulated water a year and $140,000 in water costs alone.
"Ballet des Polonais" was one of the first works to be recognized as a true court ballet. The spectacle was commissioned by Catherine de’ Medici in 1573 to celebrate the election of her second son, Henry of Anjou, as King of Poland. Performed at the Tuileries Palace and organized by the Italian dancing master, Balthasar de Beaujoyeulx, the hour-long ballet consisted of sixteen amateur French ladies representing the sixteen provinces of France. Describing it as the most beautiful ballet ever made on earth, the court observer Brantome recounted that they “danced their ballet so curiously designed, with so many turns, swerves, and sinuosities, interlacings and minglings, confrontations and withdrawals, that [it was surprising that] no lady ever failed to be at her appointed turn or place.” Although its combination of verse, song and dance had been used before, the intricate figure dancing involved in the "Ballet des Polonais" marked the beginning of the French style that would become the dominant continental school over the next century.
Having learned to sew during her six years at Aubazine, Chanel found employment as a seamstress. When not sewing, she sang in a cabaret frequented by cavalry officers. Chanel made her stage debut singing at a "cafe-concert" (a popular entertainment venue of the era) in a Moulins pavilion, "La Rotonde". She was a "poseuse", a performer who entertained the crowd between star turns. The money earned was what they managed to accumulate when the plate was passed. It was at this time that Gabrielle acquired the name "Coco" when she spent her nights singing in the cabaret, often the song, "Who Has Seen Coco?" She often liked to say the nickname was given to her by her father. Others believe "Coco" came from "Ko Ko Ri Ko", and "Qui qu'a vu Coco", or it was an allusion to the French word for kept woman, "cocotte". As an entertainer, Chanel radiated a juvenile allure that tantalized the military habitués of the cabaret.
Degas's only showing of sculpture during his life took place in 1881 when he exhibited "The Little Dancer of Fourteen Years". A nearly life-size wax figure with real hair and dressed in a cloth tutu, it provoked a strong reaction from critics, most of whom found its realism extraordinary but denounced the dancer as ugly. In a review, J.-K. Huysmans wrote: "The terrible reality of this statuette evidently produces uneasiness in the spectators; all their notions about sculpture, about those cold inanimate whitenesses ... are here overturned. The fact is that with his first attempt Monsieur Degas has revolutionized the traditions of sculpture as he has long since shaken the conventions of painting."
The cello was built in 1711, likely at the request of King Louis XIV's personal physician, François Chicoyneau. When Chicoyneau died in 1752, the cello was sent to Paris to be sold by a private dealer. When this failed, the cello was put up for public auction. Cellist Jean-Louis Duport (not to be confused with his older brother Jean-Pierre), submitted a bid with the help of two friends, both of whom were princes. The auction failed, however, and the cello's sale was eventually entrusted to private dealer George Cousineau. The Duport brothers were later contacted to see if they remained interested in the cello, and they bought it for a relatively low price.
Other public installation/performances putting closure to a period before Colette's departure for Berlin, were Justine's thrift shop on West Broadway (her beautiful dreamer uniforms and gowns were offered for sale to the public with a window work of that theme), and "Art on Stage" a multimedia event held at Danceteria.
In 1978 Fiorucci invited her to do an exhibition, which included a sleeping installation performance in the windows of the West 59th Street store in NYC. Soon after, Fiorucci began using live models in the store and Colette's "Victorian Punk Look" became part of the 1980s NYC "Downtown New Wave" world. In 1979 Emilio Fiorucci commissioned her to create a line of clothes for the store. Her "Deadly Feminine Line" was showcased in the windows of the boutique and Colette staged a fashion art performance at the Mudd Club in celebration.
Other shows and highlights of that period concentrated on reaching larger audiences and Colette began using the label "C.I.A. - Colette Institute of Art" and its no 1. Moto - "Fight Terror with Glamor, also " beware of When In Pink ". She presented her C.I.A. (Colette institute of Art) with an installation performance on April 1st at the NYC club" Crowbar". In "Domestic Bliss" (1994), an arresting vision that featured a long pink table with Lumiere plates, could be seen from the streets of Rosenthal's Madison Avenue Rosenthal's Show Room. The Mannequin replacing Colette, was attached to a long table with a train containing at its end a large pile of record albums size artworks from "The Story of my life" series.(78-)
In 2008–2009 Colette converted her studio at the Marie Walsh Sharpe Art into a home environment, and began a series of new metaphysical portraits; mostly of friends and colleagues :Alessandra Anderson Spivy, Roger Webster, Anthony Hayden Guest, Katerina Otto Bernstein, Donald Bachlor, Kevin Baker etc.. ; and a few celebrities of her generation; David Bowie, Jim Jarmusch, Bill Murray, Susan Sarandon, Blondie and Richard Gere. the studio was open to the public in spring 2009. In February 2010 Colette exhibited these portraits and her "Street Paintings" at Destination Art Space in an installation : "That's All She Wrote" (a 3-minute music video documenting this transition and putting closure to the tragedy of losing her atelier). For the Windows of Boutique/art space she created a Valentine onsite installation "The Letter" with light blue rushed and torn satin, shredded soft white wig material and a Colette Mannequin sculpture holding "a return to sender" envelope.