Ian Bloom

Ian Bloom (born February 15, 1990, in Hollywood, Los Angeles) is an American art dealer and the founder and director of NATURAL, an art gallery and publishing house established in Los Angeles in 2025. His work also encompasses publishing, literature, film, acting, recorded music, painting, photography, editions, design, and objects.

Bloom was raised in Los Angeles and developed early interests in mythology, Renaissance art, architecture, cinema, literature, and aesthetics. He attended Chaminade College Preparatory and was named a National Merit Commended Scholar. At sixteen he studied Art History and Narrative Film at Columbia University, and at seventeen he studied American Political Science and Comparative Literature at the University of California, Berkeley. He later studied at the New York University Stern School of Business. In New York he worked at Black Frame across art publications, fashion, presentations, jewelry, and image assets. His subsequent formation included acting study at the Lee Strasberg Theatre and Film Institute, work in television production and finance, accounting and tax, computer science, drawing, art history, and languages. He qualified as a California certified public accountant and passed CFA Level I, the Securities Industry Essentials examination, and the Series 66 examination.

Writing is the origin of Bloom’s catalogue. He wrote The Western Road at twenty-one and Screwdriver at twenty-three. He is the author of sixteen books spanning fiction, screenplays, interviews, poetry, and philosophical prose: Screwdriver, Savage Recreation, Raw Canvas, King Kong, The Western Road, Chaos Free, Simulation, Victory’s Judge, The Interviews, Star Vehicle, Manifest Destiny, New York, Fate, Real Life, King, and Driver. Screwdriver was first published in paperback in 2016; the present hardcover catalogue is issued through Natural Press.

Bloom writes, directs, produces, photographs, and performs in his own films. His filmography comprises Driver, a twenty-three-minute short released in 2016; Star Vehicle, a completed but unreleased eighty-two-minute 2025 feature in which he performs the dual leading roles of the Star and the Suit; King, a sixty-five-minute dialogue-free feature in which he plays an art dealer; and Big Time, a one-man New York feature built around his performance as the Gangster. King and Big Time are in post-production. The films are produced under Natural Pictures.

Bloom writes, performs, produces, arranges, and records his own music. His seven-album recording catalogue consists of Swagger, Laid, Swagger II, Swagger III, Golf, Know, and Meet Ian Bloom. Swagger was released through Natural Archive in 2025; the remaining six albums are unreleased.

Bloom’s visual-art catalogue includes paintings and photographs made between 2008 and 2022. His paintings include Road No. 1, Los Angeles; Road, New York; Road No. 3, New York; Fire, New York; Ocean, New York; Road No. 2, New York; Untitled, New York; No. 8, New York; and Road, Los Angeles. His photographs include The Light Well, Chicago; The Black Figure, Chicago; The Red Room, Chicago; Blue Plane, Chicago; and Head of War, Paris.

NATURAL is the institutional framework for Bloom’s art-dealing and publishing program. Its program is organized around exhibitions, viewing rooms, artworks, publications, editions, books, design objects, acquisitions, documentation, and private transactions. Bloom directs selection, presentation, catalogue development, rights and provenance documentation, publishing, editions, acquisitions, and sales.

ianbloom.co is the official public catalogue for work issued under Bloom’s name. It records his biography, chronology, books, films, music, paintings, photographs, editions, rights, archive, and verified public profiles, including released, completed, and in-production work.

After Duchamp, the artwork no longer ends at the object. Ian Bloom takes that condition as a point of departure and extends it through total authorship: film, recorded music, literature, painting, photography, performance, design, and objects conceived as one continuous cultural practice.

Production, persona, publication, editioning, documentation, commerce, distribution, archive, and institutional framing are not support structures around the work; they are among its materials. Money and power are not concealed as external forces. They are made visible—and authored—within the work.

Each artifact stands on its own. Together, they form the larger work: a life organized as cultural form and constructed to enter history.