#The Indica Gallery

[ludmilachaibemachado]

Maggie McGivern, Paul McCartney and Barry Miles at the Indica Gallery🥀

Via Instagram.com🍁

[theprofessorofdesire]

Peter Asher and Barry Miles behind the counter at the Indica Gallery bookshop.

[beatleshistoryblog]

LECTURE 18: COMING APART (PART 1): This unusual footage of Yoko Ono having all of her clothing cut up in a performance art exhibition was filmed by brothers Albert and David Maysles, a pair of documentary filmmakers, who shot the footage in Carnegie Recital Hall in New York on March 21, 1965. As one description of the short documentary aptly puts it: “Yoko Ono sits motionless on the concert hall stage, wearing her best suit of clothing, with a pair of scissors placed on the floor in front of her. inviting the audience to come up on stage - one at a time - and cut a bit of her clothes off which they were allowed to keep, covering her breasts at the moment of unbosoming.” The following year, in 1966, Yoko Ono met John Lennon at the Indica Gallery in London, and the two would gravitate closer and closer together. 

[big-barn-bed]

Top 5 Paul boyfriends

omg marry me

(these are in no particular order)

-Robert Fraser aka Groovy Bob aka Paul’s emotional support art dealer/drug dealer/fag :’) Most interesting man of the swinging London era! There’s something so special and soft about how Paul always talks about Robert. “I expect people to die so I don't feel a loss but there's a vacuum where he used to be.” And in a letter sent from Paul to Robert when Robert was in prison from The Rolling Stones drug bust, “Jane sends her love, love, and is baking a file cake. I send mine.” aughhh <\3

-Tara Browne… I wish there was more written about him! We know he was very important to Paul. He was the person Paul first took acid with and was with Paul in the Great Liverpool Moped Accident of ‘65! I always wondered why Paul invited him to Liverpool for his family holiday asdkskj. Paul describes him as “a nice Irish guy, very sensitive bloke. I’d see him from time to time, and enjoyed being around him.” which is basically a declaration of passionate love in paul-speak.

-Peter Asher! Underrated Paul boyfriend. I’m not saying Paul only stayed with Jane as long as he did because he had a whole thing for her family… but I’m not NOT saying that. The songs he gave him! The wrapping paper he designed and kept secret as a gift to Peter and the Indica gallery!

(I’ll also just mention Paul’s never ending kink for high society types. He loved hearing Robert talk about his time at Eton, specifically the ‘fagging system’. Tara was heir to the Guinness fortune, not to mention son of a member of the House of Lords. The whole Asher family was a wet dream come true.)

-Denny Laine (is in my ears and in my eyes..🎶) listen. LISTEN. Look at any picture of Paul, Linda, and Denny in the wings era and tell me they weren’t a god’s honest throuple. You can’t. I know it in my life’s blood they got it on down and dirty for YEARS. Linda especially is allll over him in so many pictures and I don’t blame her! He’s a cutie! But they all had fuck-nasty sex.

-John Lennon. Yes, the world’s greatest and most tragic love story etc etc. fanfic tropes galore! Meet cute, mutual pining, only one bed, father doesn’t approve, found family, let’s run away together etc etc

Me: so anyway John had mommy issues and Paul had daddy issues. And John was sort of daddy and Paul was sort of mommy but they just weren’t enough for each other. They were somehow the most and least compatible people on the planet but the love was there and it changed everything.

My mom: 👁️👄👁️

[midchelle]

"APPLE" Yoko Ono / 小野 洋子 (Japanese, 1933) The Indica Gallery // November 8-18, 1966 [Plexiglas pedestal, brass plaque, apple | 114.3 × 17 × 17.6 cm] 

Apple was displayed along with Ceiling Painting as part of Ono's autumn 1966 show Unfinished Paintings And Objects at John Dunbar's Indica Gallery in London. The day before the opening of the show, John Lennon of The Beatles visited the gallery.

And then he saw the apple. You know, he didn't say anything. He just grabbed it and had a bite in it. Apple was a fresh apple on an installation like this. And he just grabbed it and bit it and looked at me like, you know, "There!" you know? I was so furious, I didn't know what to say. And it all showed in my face: How dare this person, you know, mess around with my work? So he just said, "I'm sorry", and just put it on the stand again.

[las-microfisuras]

(BELLEZA Y HONDURA ¡QUÉ MÁS SE PUEDE PEDIR PARA ILUMINARNOS!: "FUEGO")

Con La Tour nos hallamos en lo más profundo de la iluminación o la revelación. Desde la oscuridad y la pasividad de la meditación en relación con el engaño solar de las formas de la realidad. De manera que ese viaje pictórico no es otro que el de la transparencia. La transparencia misma y sola de la luz, abriéndose paso -abriendo su paso-en el corazón de la noche.

Por lo demás, todo indica que el retiro de las Magdalenas nocturnas y pensativas de La Tour no sólo contrasta sino que incluso transforma o redime, por su ensimismada penitencia, el mundo diurno de los adornos, las perlas y los oros manifiestos de las adivinas y cortesanas anteriores. De hecho, la versión más ascética de María Magdalena, aquélla en que la vemos acariciando la calavera sobre unas rotundas rodillas, nos presenta un vaso con óleo (¿óleo martirial?) que alimenta una llama. Pero ese vaso contiene también agua, como evidente símbolo virginal, el de la transparencia inmaculada.

La escena relata, por tanto, una suerte de redención en la serenidad acendrada de la noche, la mujer y la vela. E incluso estamos inclinados a pensar que, como sugiere José Jiménez Lozano, esa calavera específica sobre las rodillas no nos conduce desde luego a ningún pensamiento tenebroso: "tal como es tocada, podría ser un pomo de perfumes o un espejo".

Por cierto que, tanto en este cuadro como en el de las otras dos Magdalenas ante el espejo, confirmamos la importancia que el pintor concede a otros sentidos, más allá de la visión. AI tacto, por ejemplo, con esos dedos que rozan o acarician levemente la calavera, como si tratasen "de reconocer a tientas el relieve de la muerte" (Quignard), la forma dura" de que habló René Char, a propósito, precisamente, de La Madeleine à la veilleuse (la Magalena penitente de la lamparilla). No por casualidad es el cráneo el que en la versión conocida como la Magdalena Fabius oculta casi totalmente la fuente de luz, generando una escena de realidad traspasada por su propio límite existencial...

_ Alberto Ruiz de Samaniego, HOMBRES Y DIOS. Escenas de noche y misterio. Ed. Shangrila dic. 2023.

_ Magdalena penitente, (también llamada Magdalena Fabius) ca. 1635-40, [113 x 92'7 cm.] National Gallery of Art, Washington.

[thegianpieromennitipolis]

Da: SGUARDI SULL’ARTE LIBRO QUARTO - di Gianpiero Menniti

CUM NAUFRAGIUM FECI, TUNC BENE NAVIGAVI

Ossimoro latino, forse risalente a Zenone, riproposto da Erasmo da Rotterdam (1469 - 1536) nel suo “Adagia”, 1500, (Centuria 1878) con questa formulazione:

«Nunc bene navigavi, cum naufragium feci.» «Posso dire di aver ben navigato, solo dopo aver fatto naufragio.»

Non si tratta di riferirsi al viaggio, ma al viaggio per mare, là, dove nessuna strada è tracciata e ogni rotta è possibile e ogni istante può mutare in tempesta.

Metafora drammatica.

Temuta.

Accettata.

Subita.

Agognata.

Come per ogni domanda profonda, solo portandosi fino all’estremo confine è possibile scorgere la luce della coscienza consapevole.

Così, la pittura di Turner, agli esordi dell’800, ha già nelle corde il vibrare della crisi di un secolo impetuoso, durante il quale sarà impossibile cambiare rotta per evitare la furia degli elementi.

La metafora diviene simbolo: la tempesta è la metà del piatto spezzato - σύμβολον (symbolon) - che indica l’origine e l’identità da ritrovare.

Essenza del pensiero “romantico” agli albori: esistere, è tragedia.

Il “dipinto-simbolo” racconta il senso, necessario, del vivere: prendere il mare aperto e ogni rischio che questo comporti.

Ogni rischio, anche mortale.

Pur di ricongiungersi con l’altra metà del piatto.

Rimasto ad attendere in un placido canale.

L’ossimoro, si compie.

- Joseph Mallord William Turner (1775 - 1851): “Il naufragio”, 1805, Tate Britain, Londra e “Canale di Chichester”, 1828, Tate Gallery, Londra

[delightfullyatomicfest]

Fascinated by The Telegraph reporting on 14 Nov 1966 that two Beatles approached Allen Klein via a third party over their future management and I’ve been trying to work out which two (assuming it wasn’t fake news).

Spoiler: this is long and I got nowhere

The obvious is Paul due to his comment about Klein at some point that year.

Beatles 66 assumes it was John and George, I think based purely on the fact that Paul was on holiday. It being John would make sense as another reason Klein would have gone straight to him in 1969.

NME reported on 18 Nov that George, Ringo and particularly John were annoyed about it. Nothing from Paul who was assumed to know nothing about it due to being in Kenya.

So - what were they up to at that time and were they with Brian?

End of touring was Aug 1966, with rumours of The Beatles splitting up starting soon after.

John went off to film How I Won The War, with Ringo visiting him in Spain on 4 Oct until after 9 Oct.

George and Pattie had gone to India on 14 Sept and returned to London on 22 Oct. He was really getting into songwriting around this time.

John came back to the UK after filming How I Won The War on 6 Nov. He met Yoko at the Indica Gallery on 7 Nov. John later said about this period that he wanted to leave the Beatles at this point and didn’t know what to do so he did the film. I don’t know about John’s mood when he was back in London.

All three were back in the UK by early November, though was John in a frame of mind to be thinking about a new manager at that point?

Paul (he was busy although there’s also a lot due to the existence of the Paul McCartney legacy website)

In Sept (date unknown), Paul and Ringo had gone with Brian to see “A Funny Thing Happened On The Way To The Forum” to see if the scriptwriter might be a candidate to write their next film.

On Sept 16 Paul and Brian (and Maggie) travelled to Paris to meet John and Neil.

An article in October about the Beatles splitting up said Paul had gone to see the already-completed Family Way film with Brian Epstein (when?).

In October Paul was doing things like going to the opening of the International Times and hanging out at Robert Fraser’s gallery.

I think in Oct he would have been doing The Family Way (also here) although iirc he finished it off when John was there so perhaps also post-19 Nov.

Paul went on holiday to France on 6 Nov (the day John returned from Spain), meeting Mal a week later then heading to Kenya with Jane for a safari. He returned to London on 19 Nov.

The Four Tops performed at the Saville Theatre, owned by Brian, on 12 Nov. The backdrop for the performance was designed by Paul (although no date as to when).

On 20 Nov Brian held a party for the Four Tops, which John and George attended.

Paul was interviewed for the Nov 1966 edition of Beatles Monthly. He spoke about the problem with the American record company having less songs on the album, in answer to a question on the topic. He says ‘but I think we're beginning to get more control now’ which doesn’t suggest a lot either way.

The article

Source

Klein arrived in London on Friday 11 Nov, the article was Sunday 13 Nov.

One quote ‘Mr Klein had the approach through a third party who was talking to two of The Beatles’ implies not a lot of time between talking to the third party and Klein but maybe not.

Paul had gone away on 6 Nov, the previous Sunday, so whether they knew in advance about Klein’s visit is one question - although why make an overture via a third party of you’re not there to follow up or find out how it went?

I’d suspect the third party might be The Rolling Stones, given the connection, which could suggest Paul and John?

So… idk

The timing and fact that Paul and Brian were doing a lot together just before that time seems to make it unlikely to have been Paul, John’s mood at that time makes in seem unlikely it was him and I can’t imagine it was Ringo. Paul and John only seem to have seen each other in Paris (with Brian) so seems unlikely to have been the two of them. So I guess it was probably George and either Paul or John.

[scotianostra]

On October 20th 1938 photographer Iain MacMillan was born in Carnoustie.

After leaving Dundee high school in 1954, he worked as a trainee manager in a local jute mill, before studying photography at the Regent Street Polytechnic (now the University of Westminster). He returned home in 1959 to photograph Dundee tenements and street scenes - powerful images of a way of life about to disappear. His talent was soon recognised by magazines and publishers, and by the early 1960s he was getting commissions from the Lutterworth Press, the Sunday Times, Plays & Players and the Illustrated London News.

Later in the decade he took photographs for a book, The Sculpture of David Wynne, and for Wynne's exhibition catalogue, while also working on a photographic essay about life in the capital. The Book of London (1966) contains some of his best work, and brought him to the attention of Yoko Ono, who commissioned him to photograph her exhibition at the Indica gallery, in St James's. It was there that Yoko met John Lennon, who invited MacMillan to photograph the Abbey Road album cover.

MacMillan continued working with the couple on such projects as the Live Peace in Toronto album (1969) and Sometime in New York City (1972). He also collaborated on the film Erection, an animation of shots of a London hotel under construction with a soundtrack by John and Yoko.

By the mid-1970s, MacMillan was teaching photography in Stoke-on-Trent. As well as possessing a sense of composition and a lively imagination, he was a meticulous craftsman with a sound technical knowledge. He tried to instill these values into his students. In the 1980s his photographs were exhibited in galleries in Britain and the US, and on the continent. The BBC used his work in the series The Rock and Roll Years.

In the 1980s, after his parents died, MacMillan moved back to Carnoustie. He continued to take photographs of Scottish landscapes, his friends and families - and his beloved collie dog, Mac - often using a borrowed camera.

In 1993 Paul McCartney invited MacMillan to take another picture on the famous zebra crossing near the EMI studios in St John's Wood, this time of the Beatle and his Old English sheepdog. MacMillan contrasted the simplicity of the earlier picture by including a team of policemen, press photographers and a lively crowd. The resulting image was used on the cover of the album Paul is Live, thus scotching rumours that McCartney was dead.

MacMillan was modest about his own achievements. He retained a lasting affection for Paul and Linda McCartney, whom he described as "the most solidly down to earth and unaffected couple imaginable".

Iain MacMillan passed away on May 8th 2006 from lung cancer.

[joseandrestabarnia]

Agnolo di Cosimo conocido como BRONZINO (Florencia 1503-1572) Retrato de una joven con un libro (¿Giulia de Alessandro de'Medici?) 1548-1550 Óleo sobre tabla Inv. 1890 n. 770

El esquema del retrato es el mismo que utiliza Bronzino para toda la serie de los jóvenes Medici: el busto se muestra entero y el corte frontal hierático que subraya el linaje. El vestido sigue la rígida y lujosa moda española introducida en la Corte por la Gran Duquesa Leonora, pero la franqueza de su mirada y la expresión seria revelan el carácter de la adolescente, ciertamente estimulada por la lectura, como indica el libro que tiene entre manos: tal vez se trate de Giulia, huérfana del duque Alejandro, que creció en la familia de Cosme I de 'Medici y se casó en 1550 - a los quince años - con Francesco Cantelmi, duque de Popoli.

Información de la Gallerie degli Uffizi, fotografía de mi autoría.

[mydaroga]

In March 1966 Paul ran a competition in a little underground magazine called the Global Moon Edition of the Long Hair Times, the direct forerunner of International Times, edited by Miles and produced by John Hopkins on his own hand-cranked offset-litho machine. Paul, using his pseudonym Ian Iachimoe, offered twenty guineas for a film script:  

Ian Iachimoe, the Polish 'new wave' film director, is offering a prize of 20 guineas to anyone who can supply the missing link in the following script. The dialogue is not needed, just the idea. Here is the outline of the story:

A woman (age 35-45) is fanatical about cleanliness. She is amazingly houseproud and obsessional about getting rid of dirt. This carries over in her dress, looks, and so on.

Something happens to make her have to crawl through a great load of dirt, old dustbins and so on. Good old honest dirt. What is this something?

The story continues with the woman's mind being snapped by her experiences with dirt. She goes mad and her obsession gets even worse.

What is needed is the idea. What could have caused her to become involved with filth. (She is not forced to do it, but chooses to do it herself.)

Send all answers, as many as you like, to Ian Iachimoe, c/ o Indica Books & Gallery. 6 Mason's Yard, Duke St, St James's. London SWi. WHI 1424

This competition is for real - it seems strange but it is real.

Barry Miles, Many Years From Now

[therobertfrasergang]

Robert Fraser by John Dunbar

Double portrait of Robert Fraser on his first day out, 1967; Collage with Xerox prints laid on paper, 13 x 26 inches. ©John Dunbar, courtesy England & Co gallery

John Dunbar was a friend of Robert Fraser; he was artist who was part of the gallery/Indica crowd in the 1960s, and was married to Marianne Faithfull. Dunbar and Fraser used to drop acid at John Lennon's house with him.

This picture was presumably taken when Fraser was released from prison after serving four months for heroin possession, sometime in November 1967.

Apologies for the poor quality. It's impossible to tell exactly what the document on the left is, but it looks very much like the "returned mail" form that the prison sent out, like the one shown below (it might even be a photocopy of this letter):

See more about this letter here.

[aquarianshift]

"Meanwhile the [Indica] bookshop had to be shelved and the gallery painted and carpeted. Wood was ordered from Phillip Weisberg's timber yard on Goodge Place and John [Dunbar] and [Barry] Miles, having no vehicles of their own, arrived to pick it up in Paul's Aston Martin. Weisberg wrung his hands in mock despair. 'I just don't understand you lads. You spend hours complaining about the price of four by two, wasting my precious time, then you arrive to collect it in a car thats costs three years' wages? Wassa matter with you? Whose car is that? Why doesn't he buy the wood?'"

--Many Years From Now by Barry Miles

[haowus]

John Lennon and Yoko Ono meet

On November 7, 1966, British rock sensations The Beatles walk into London’s Indica Gallery, where avant-garde Japanese artist Yoko Ono is preparing for the opening of her solo exhibit. Singer and guitarist John Lennon and Ono meet when he asks her about Ono’s intriguing art piece— a ladder topped by a magnifying glass that revealed the word “Yes.” The two artists eventually fall in love, prompting an affair that leads to Lennon ending his first marriage to Cynthia Lennon.

At the gallery exhibit, Lennon saw a sign that said “Hammer a Nail In.” He asked Ono if he could do just that, but she said no, because the show wasn’t opening until the next day. The gallery owner talked her into it, and Ono agreed to let Lennon hammer a nail in the exhibit for five shillings. He joked with her that he will hammer in an imaginary nail for an imaginary five shillings.

“And that’s when we really met,” Lennon told Playboy in a 1980 interview. “That’s when we locked eyes and she got it and I got it and, as they say in all the interviews we do, the rest is history.”

“When I fell in love with Yoko, I knew, my God, this is different than anything I’ve ever known,” Lennon told Playboy. “This is more than a hit record, more than gold, more than everything.”

About three years after their fateful meeting, Lennon and Ono married in Gibraltar on March 20, 1969. The Beatles split the following year. The band's 1970 breakup prompted speculation from the media and fans that Ono influenced the dissolution of the band. Many Beatles fans resented Ono as a result.

[theweedythingsth]

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[pleasantlyinsincere]

How would you fit Paul's story of meeting Yoko first into the timeline? Not sure after the Claes Oldenburg thing makes sense with what Paul is saying.

Hi. Yeah, I'm not married to the idea that it definitely happened then. It's just that Paul, Yoko and John barely were together in London at the same time before the Indica gallery meeting. I just find it so, so unlikely it happened the way Paul tells it then. That Yoko coming to Paul's house was only after they all went to the Claes Oldenburg opening is just a theory that works well in my head. Maybe I will try to do a little trial-timeline of that later.