Instruct: Given a question, retrieve relevant passages that answer the question.
Query: When was Colette Justine born?
Colette Justine better known as Colette and from 2001 Colette Lumiere (born 1952 in Tunis, Tunisia) is a French-born, American multimedia artist known for her pioneering work in performance art, street art and her use of photography constructed photograph. She is also known for her work exploring male and female gender roles, different guises and personas and for her soft fabric environments where she often appears as the central element.[1]
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.
The police discover that Colette's assistant Roxanne was behind the poisoning, which was done in response to Colette's tearful concerns that her inheritance would be reduced through Carlton and her father would less likely approve of their match. Despite Colette's lack of knowledge to the situation, Carlton blames Colette and breaks up with her. Nick is hesitant and does not trust her, but Rachel agrees to meet with Colette, and accepts her apology. Colette later demands that Rachel help her and Carlton reconcile. Rachel does not want to pressure her brother into anything, and Colette becomes hysterical, accusing Rachel of keeping them apart as a vindictive punishment. She begins loudly yelling at her, also accusing her of being jealous and trying to imitate her. Rachel responds by calling out Colette for being a spoiled and selfish brat. She points out that she learned to be grateful in what she had in having a loving supportive family and working hard in the real world. Rachel claims that Colette never knew how hard the real world was since Colette had been spoiled all her life. The argument ends when Rachel tells Colette to grow up. The incident is taped and becomes widely viewed on the internet. Humiliated, Colette loses her sponsorship to a popular fashion designer label. This is made worse when she learns through the tabloids that her father, Jack, had been having an affair with Kitty behind her and her mother's back.
In 1997 the "Salon de la Refusee" at the Gerswirn Hotel was viewed both by an art audience as well as random passers-by. Through its windows a Colette mannequin sculpture was installed in the gallery space, along with Colette's new works and objects, that incorporated her life's costumes. Simultaneously, In a show titled Art?fashion, another Colette mannequin sculpture dressed in one of her rushed gowns worn in live performances during her"Nightclubbing"days of the early 1980s was featured at the downtown Guggenheim Museum. Nightclubs continued to be a place of celebration after her opening exhibitions as well as a and showcase for her art. ex; The Palladium 1992, Life Club in 1997 after the opening of Le Salon de La Refusee, The Limelight in 1990, and in 1998 a multimedia production with art work, video installations, and a tableau appearance for the opening to songs co-written with Jacob Engel. 1990& 1998-., Club U.S.A "to celebrate chivalry and good manners".
In 1978 Colette staged a mock death in an installation/performance at the Downtown Whitney titled "The Last Stitch" part of the "Out of the House" exhibition. She performed her resurrection at PS1 now part of MOMA a few days later as "Justine and the Victorian Punks"[7] (the first in a series of living personas). Justine armed with Colette's vision posed as a recording star, fashion designer, inventor & conceptualizer of products - "The Beautiful Dreamer" (Colette) doll, perfume, beautiful dreamer bed, fashions, lps etc... And was the head of the Colette's estate.
Born Colette Grauaug in Zurich, she grew up in a musical family. Her grandmother had been a celebrated singer in Hungary. Colette studied at the Musikhochschule Hannover, later privately with Melitta Hirzel in Zurich.
Writers established a link between Fletch and Colette when it emerges that they were engaged fifteen years previously, but she jilted him on their wedding day. Delamere explained that Colette jilted Fletch because she wanted to explore other things before settling down. The pair have "unresolved issues" which make Fletch's new job difficult. Delamere explained that Fletch would be "an unwelcome blast from the past who gets under Colette's skin!", while Walkinshaw teased that Fletch would have to decide how to create a working relationship with Colette. Guy hires Fletch to annoy Colette, which Fletch fails to realise. Delamere thought that Guy's actions were cruel for Colette. Colette realises Guy's intentions and reacts badly to Fletch's arrival. Fletch hopes for a "fresh start" when he arrives, but struggles with this when he is confronted with Colette. Their meeting is the first time that they have seen each other since Colette jilted Fletch on their wedding day. Walkinshaw told Wilson ("What's on TV") that although Fletch and Colette need to have a talk about that day, Fletch wants to get on with his job. He also said that "it's a bit of a shock to both of them" to see each other and there is clear tension between the pair. The actor explained that Fletch decides to deal with his past with Colette and develop a better working relationship with her, but encounters a lot of "bickering and banter". Walkinshaw enjoyed the fun scenes between Fletch and Colette where they argue.
Through the nineties Colette continued to seek various settings and stages in which to exhibit. Eighteenth century salon inspired and "Colettesized"artworks were installed in environments created for them:- ex;" Colette goes Uptown "Uptown Downtown gallery" (1995), Eugenia Cucalon (1996) "the House of Olympia persists its way unto reality ", "Me Myself and I", Carol Johnssen, Munich. At the Lowen Palais part of the Starke Foundation in Berlin, she was given her own "Colette Salon". There she periodically appeared and entertained in eighteenth century style, and presented her latest comissined portraits and works of art work of her choice.
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.
In 1912 Colette married Henry de Jouvenel, the editor of "Le Matin". A daughter, Colette de Jouvenel, nicknamed "Bel-Gazou", was born to them in 1913. During World War I Colette devoted herself to journalism. The marriage allowed her to devote her time to writing.
In 1975 Colette was asked to participate in "Fashion as Fantasy" at Rizzoli's bookstore. In this fashion/art event (co-curated by Frederico Suro), a larger-than-life perforated light box of Colette was featured, while throughout the store and its windows Colette performed as "Ragdoll" with veiled breasts, a Victorian corset, bloomers and boots. Images of her "look" and her habit of wearing and incorporating undergarments began to appear not only in art publications, but also in fashion and popular press: Art News, Women's Wear Daily, and Daily News. References to Colette's look worn in art and life, are still made as having inspired a young Madonna and later Lady Gaga. During this time Colette begun to be referred to as a "walking performance".
Colette Deréal (born Colette Denise de Glarélial; 22 September 1927 in Saint-Cyr-l'École, Seine-et-Oise (now Yvelines), France – 12 April 1988 in Monaco) was a French actress and singer.
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-)
By 1992 Colette returned to New York and made it once again her primary residence, while continuing to travel and exhibit abroad, especially to Munich and Berlin. During that time her art was represented by the Dorsky Gallery where she exhibited new works from the Bavarian adventure and "the figures come to life". In 1990 the Rempire Gallery in SoHo presented "Through the Looking glass" and "Love in ruins /the artist and her Muse"_ The works from "The secret lives of Count and Countess Reichenbach" were featured among other works referring to other muses, friends, and well-known personages: a portrait of Frida Kahlo and a large light box "the bath" with a young Jeff Koons- (made from a still image of her video "Justine & the Boys"). The Persona Olympia" emerged in 1990 in Munich when she was beginning the process of returning to New York permanently. In 1991, her work was exhibited with Joseph Beuys, John Armedledder in the group show "The Invisible Body" curated by Alan Jones at the Rempire Gallery in NYC.
list of other shows in - Laboratoire Lumiere has participated in 2011:
Colette Marino (born May 27, 1975 in Chicago, Illinois), known as DJ Colette or mononymously as Colette, is a house music DJ and vocalist from Chicago, Illinois. She is a resident DJ at the SmartBar in Chicago, Illinois (along with Kaskade and others). She first gained attention when she started singing over her mixes as DJ.
She started DJing in the early 1990s. In 1993, she helped form the all-female DJ group SuperJane with DJ Heather, DJ Dayhota, and Lady D.
In 1993, an exhibition at LOK gallery in the Meatpacking District titled "The Ruins and Rise of the House of Olympia" Colette presented her new works. A Colette mannequin replaced her presence.
In 1981 she broke record attendance in three consecutive museums shows: her retrospective - "Colette - 10 Years of Work" at the Kunstverein Munster (with a monograph published by Politi); "Other Realities" at the Museum of Contemporary Art in Houston, Texas (other artists that participated with individual openings weeks apart were Robert Wilson, Joan Jonas, Vito Acconci, and Eleonor Antin); and in the show Persona at the New Museum with the Mr. Apology, Lynn Hershmann and Eleanor Antin.
Later that year at Clocktower she presented "The Dream Series", an exhibition curated by Alanna Heiss. In a large square room, "Real Dream", made of rushed pink satin, embedded lighting and audios, Colette slept nude at its center everyday for the duration of the exhibition. This show was a topic of Jeffrey Deitch interview with Colette for WPS1 art radio in 2009.[6]
Her Pearl Street atelier in New York, which was written about by Arturo Schwarz, Peter Selz, Brendan Gill, Jeffrey Deitch and Alan Jones, and published in Vogue, the New York Times, Art Forum, and The National Enquirer (1995) was demolished in November 2007. A 16-minute film The Last Days of Pearl Street documented the destruction with Street Work "Appearances" by Colette.
Colette the artist has been documented in films and videos on her life and art. the most recent documentary a Pirate in Venice by Friedericke Schaefer, "Looking for Gaga " by Josh Gilbert. went viral January 2012.Colette the Artists (Art Tapes by Paul Tschinkell (1993), Charlie Ahearn (1995), Enzo Capio (2000), Michel Auder (1970s to 1980s), Anton Perich (1970s to 1980s), Robert Polidori (1979), Wolfgang Staehle (1983) and Werner Rauenne (1984). Marc Miller interviews her in Paul Tschinkell's Inner Tube. in 1983. in a video that also included interviews with Robert Longo.
In "The Penultimate Peril", Colette was present at the Hotel Denouement where she posed as a chemist in a long white coat and surgical mask staying at the Hotel Denouement that is outside of the sauna when Frank or Ernest Denouement suggests that she takes Sir and Charles to room 547 where Organic Chemistry is. During the blindfolded trial, Colette submitted some drawings as evidence. When Hotel Denouement was starting to catch on fire, Hugo, Colette, and Kevin were last seen holding the bird paper that Klaus hung on the outside of the sauna. Colette talks about plucking the feathers off some crows. It is left uncertain if Colette survived the fire at the Hotel Denouement.
In 1990 in an exhibition in Munich at Carol Johnssen Gallery "Visits to the Normal World" Colette began to use the name Olympia. It was the first of seven solo shows at that gallery. In 1991 she presented her Colettesized commissioned portraits in "The Aristocrats"; among the portraits of local aristocrats were Leslie and Dedlef Von Waggonheim, Kiki and Eckbert Von Buehlen & Urbach; and an installation featuring "The Unnunciation". The subject Colette as "the Countess Reichenbach" (with her then boyfriend actor Misha Tregor ("Count Reichenbach") a regular at the Kammerspiele theater in Munich). In 1991
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 1985 during her stay in Berlin, Three monographs were published on her work: 1."From Silk To Marble" - a series of photographs of Colette transforming herself with a white sheet into sculptures of different periods of history, thus documented the style and fashion of that period.were exhibited with an opening performance re-enacting the images live. Künstlerhaus Bethanien (with the Torkil Gudnason) helped her document the images right before her departure to Berlin. 2."Colette new works and paintings" - 85 for her solo show at the Berlin Kunstverein (published by Kammerer & Unverzagt) and 3."Art on Stage", distributed by the Stadtische Galerie Nordon (Germany). Colette presented a multimedia installation / performance with her works on the stage of its auditorium. Its co-publisher was Daniel Newburg Gallery (New York Gallery which represented her work during that period).