Tim Threlfall was born in 1940 and was predominantly influenced creatively by the 1950s. In the Post-War period the lens of modernism was focused, in terms of internationally, on developments in New York City. The Second World War had brought many leading artists to the city in exile from Europe, leading to a substantial pooling of talent and ideas. Influential Europeans that came to New York and provided inspiration for American artists included Piet Mondrian, Josef Albers and Hans Hoffmann, who between them set the foundations for much of the United States’ significant cultural growth in the decades thereafter. It can be said that the 1950s were dominated by Abstract Expressionism, a form of painting that prioritised dramatic brushstrokes and expressed ideas about organic nature, spirituality and the sublime. Much of the focus was on the formal techniques of painting, and ideas of action painting were conflated with the political freedom of the United States society as opposed to the strictures nature of the Soviet bloc. Important artists of the Abstract Expressionist Generation included Jackson Pollock (who innovated his famed drip, splatter and pour painting techniques), Willem de Kooning, Mark Rothko, Frank Kline, Barnett Newman, Clyfford Still and Adolph Gottlieb. It was a male dominated environment, though necessary reassessment of this period has underlined the contributions of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois, amongst others.
www.ftn-books.com has added yesterday the scarce 1967 Haags Gemeentemuseum catalogue to its inventory.
I just added 2 Sixties Haags Gemeentemuseum catalogues and what struck me immediately is the design that is far better than the designs of the late Seventies. It got better in the mid eighties and by the beginning of the Nineties it was up to par with the other dutch museums. Biggest improvement were the designs by Donald Janssen and later Gracia Lebbibk who made designs that stood out from the rest….. but these two….great designs…. . both by Hans Walkate .
Writer and painter. Swiss born. I do not know any of his writings but i have admired his paintings as loong as i had first seen them.
For me they have the same qualities as the paintings and drawings i know of Frank van Hemert. In many paintings you can find parts of the human body or human figures, In no way realistic, but always recognisable as human.
He is associated with the Neue Wilde painting style.
Born to a family of gardeners, he was expelled from school in 1968 for disciplinary reasons. He was married to fellow artists Agnes Barmettler and later Irene Grundel. In the 1970s and 1980s, Disler worked extensively in Europe and in the US, gaining international attention alongside artists such as Sandro Chia, Francesco Clemente and Georg Baselitz. In 1982, he exhibited works at the Documenta 7. His awards include the Bremer Kunstpreis (1985), the Preis für junge Schweizer Kunst der Zürcher Kunstgesellschaft (1987) and the Kunstpreis des Kantons Solothurn (1988).
Braco Dimitrijević was born in Sarajevo (formerly Yugoslavia) in 1948 and currently lives and works in Paris, France. He graduated from the Zagreb Academy in 1971 and completed his post graduate studies at Saint Martin’s School of Art in London in 1973. Solo museum exhibitions have taken place at The State Russian Museum, St. Petersburg and Musée d’Orsay, Paris (2005); the Slought Foundation, Philadelphia (2007); Ludwig Museum, Budapest (2008), Musee d’Art Moderne de Saint Etienne (2009), Musee d”Art et d’Histoire Luxemburg (2011). He has participated in Documenta in 1972, 1976, and 1993 as well as the Venice Biennale in 1976, 1982, 1990, 1993, and 2009. His work can be found in approximately 70 public collections, including The Museum of Modern Art, New York; Tate, London; Musee National d’Art Moderne Centre Georges Pompidou, Paris; Museum Ludwig, Cologne; and The Israel Museum, Jerusalem, among others.
Dimitrijević has still a loyal following, but the large museums seem to have forgotten him. Maybe it is time to re discover him since his work is still fascinating.
The architect, urbanist and artist Luc Deleu sees architecture as a form of visual, sculptural and political thinking concerning the relationship between public and private space. In 1970 he founded ‘T.O.P. office’: a firm for the study of urban development and architecture. The firm’s motivation and goal were to question architecture and urban design and their position and function in society. Deleu soon became convinced that in many respects our cities would be improved if we built less. In his view, the rapid evolution of communication and mobility should make it possible to lead a more nomadic life again. His initial projects therefore emphasised the wealth of potential of mobility as against the rigid immobility of physical buildings. They argued against the privilege that immovable property enjoys as places to live and work. Together with his wife Laurette Gillemot (1946) and a few members of staff, Deleu is still generating visionary ideas on urbanisation, sometimes with a utopian tendency, which respond inventively to the ecological, economic, cultural, social, geographic and administrative-political reality and future.
In documenta 5 in Kassel 1972, he presented Arden Andersen and Nora Murphy, a hyper-realistic sculpture of a couple in the act of love-making, made from bodycasts rendered in polyester resin.
This alienation between the lovers and their incurable misfortune becomes even clearer with his 1978 work on display in Aachen, entitled The Couple. The man is not only fully dressed and the woman naked, but she clings to him, while he touches her only minimally, in order to not induce an open rejection.
De Andrea’s works based on the sculptor and his model are characterized by a sober, professional relationship between the man and the woman; the artist concentrates on his work or rather is shown in situations, where he withdraws within himself to a meditative posture, and retreats into himself, in order to collect his energy and concentration for further work.
While looking for info on this fascinationg artist i encountered a post by Voorlinden about the De Andrea in the Caldic collection. A great combination with the leather Barcelona chairs by Mies van der Rohe.
A principal figure of British conceptual art, Michael Craig-Martin probes the relationship between objects and images, harnessing the human capacity to imagine absent forms through symbols and pictures. The perceptual tension between object, representation, and language has been his central concern over the past four decades. In his early work Craig-Martin often incorporated readymades into sculpture and made knowing reference to American Minimalism. His elegant restraint and conceptual clarity is exemplified by An Oak Tree (1973), comprising a glass of water on a shelf and a text written by him asserting that the glass of water is, in fact, an oak tree. This interest in semantics, the play between rhetoric and object, continues to be a core theme in his work. In the 1990s Craig-Martin made a decisive shift to painting and developed his hallmark style of precise, bold outlines demarcating flat planes of intensely vibrant colors. Through exacting draftsmanship, he uses composition to explore spatial relationships by juxtaposing and layering color.
Craig-Martin was born in 1941 in Dublin. He attended Fordham University, New York, from 1959 to 1961, then Yale University, where he received a BA in 1963 and an MFA in 1966. In the mid-1960s he returned to Europe, becoming one of the key figures in the first generation of British conceptual artists. Craig-Martin taught at Goldsmiths College School of Art, London, from 1974 to 1988 and from 1994 to 2000. During this time he became a powerful influence on a generation of his students who would become known as the Young British Artists, including Gary Hume, Sarah Lucas, and Damien Hirst, among others. Craig-Martin’s work has been featured in solo museum exhibitions worldwide.
Last week Linda and I went to Rotterdam and visited the Nederlands Fotomuseum. The museum made a selection of 99 of the most iconic dutch photographs from the last 160 years. Among them well known examples by famous dutch photogra[phers, nut some that i never had noticed before. The one photo that fascinated me most was the one Cas Oorthuys took in the Rotterdam harbour. The photo has everything. action, drama, mouvement and it gives a perfect impression of the Rotterdam harbour in the late Fifties.
Harbour of Rotterdam
Later this month i will select some more photographs from this visit, but this. is for now my personal favourite.
Sophie Calle is a French artist who has exhibited extensively throughout the world since the late 1970s. Variously described as a conceptual artist, a photographer, a movie director, and even a detective, she has developed a practice that is instantly recognizable for its distinct narrative elements and frequent combination of images with text. Each of her projects can be seen as a chapter in a vast overall volume of references and echoes, in which Calle often blurs the boundaries between the intimate and the public, reality and fiction, art and life. Her work methodically orchestrates an unveiling of reality—her own and that of others—while allocating a controlled part of this reality to chance.
In the Netherlands we were fortunate that the Boymans van Beuningen organised an exhibition with her. This catalogue is now available at http://www.ftn-books.com together with some other important publications.
One of the most fascinating artists to emerge from the Belgium art scene in last century certainly is Thierry De Cordier
Thierry De Cordier is a philosopher, author and visual artist. He describes himself as romantic and melancholic. His work emanates from his personal quest: he strives to understand his own being and being human. ‘Back to nature’ is (also) De Cordier’s motto. There he is able to distance himself from our consumer society and there he tries to escape it. For a long time his garden represented the ultimate place where he found peace to reflect and work, in harmony with nature. He later went to live by the sea. Escaping the world and loneliness are recurring elements in De Cordier’s dark sculptures, drawings and paintings. Below is the project DE PONT developed with the artists. It shows the qualities of this hard to admire but fascinationg artist.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20