Just reread my blog on Ruf and had to change it a little bit because last week it was announced that Beatrix Ruf resigned as director of the Stedelijk Museum
A few weeks ago the Stedelijk Museum Amsterdam announced the completion of its entrance area together with the final adjustment in its presentation of its collection.
The new plan reflects Beatrix Ruf’s vision for the Stedelijk: clearer layout of the building, more works from the collection on view, more stories and topical perspectives, new entrance area to open 22 September.
Stedelijk Base, the new collection presentation of the Stedelijk Museum Amsterdam, opens on Saturday 16 December. It is one of the largest installation of the Stedelijk collections in its history, and will remain on view for at least five years. The presentation of the art works is organized in a circuit designed by OMA, the architecture practice founded by Rem Koolhaas. Stedelijk Base will present art and design from the late 19th century up to the present day. The display is a great way for people who are new to art to discover how modern art and design evolved, and allows seasoned art-lovers to experience the Stedelijk’s world-famous icons in a new context.
Stedelijk Base is the final element to manifest the vision of director Beatrix Ruf for the Stedelijk, in which the building is divided into three zones:
Stedelijk Base: the entire new building will be devoted to a display comprising the 750-plus works in the Stedelijk holdings, grouped around iconic pieces in the collection, and featuring a mix of disciplines.
Stedelijk Turns: the collection in topical and thematic presentations on the ground floor
Stedelijk Now: the temporary exhibitions on the first floor.
Yesterday i became the winner at auction of a small painting by Frank van Hemert. Followers of the blog know of my admiration for this artist and this small paintimng fits perfectly between the drawings i have in our collection from the same series . The painting “Initiatie” was painted in 1992, measures 50 x 41 cm and has the typical van Hemert touch. Green and red Paint is “worked’ into a composition as a background for a grid of orange stripes.
For those that want to know more about this painter who has stayed true to his approach to art and has presented his works all over the world , here is a link to a nice ( english subtitled ) video in which van Hemert presents and explains his work.
What have the Maeght foundation , Museum Boymans van Beuningen and the Stedelijk Museum in common? They all three organized exhibitions with Saul Steinberg. This is what i thought of before i started to look at information on the internet and found the foundation of Saul Steinberg / saulsteinbergfoundation.org. This site starts with giving an overview on his life , but soon you discover that this is one of the great sites on art on the internet totally dedicated to Saul Steinberg. Try it and if interested in the artist you soon will loose yourself completely and spent a long time on this site discovering why Saul Steinberg was important. Here is the short intro from the Steinberg foundation on the artist and please do not forget that www.ftn-books.com has some nice publications available.
Famed worldwide for giving graphic definition to the postwar age, Saul Steinberg (1914-1999) had one of the most remarkable careers in American art. While renowned for the covers and drawings that appeared in The New Yorker for nearly six decades, he was equally acclaimed for the drawings, paintings, prints, collages, and sculptures he exhibited internationally in galleries and museums.
Steinberg crafted a rich and ever-evolving idiom that found full expression through these parallel yet integrated careers. Such many-leveled art, however, resists conventional critical categories. “I don’t quite belong to the art, cartoon or magazine world, so the art world doesn’t quite know where to place me,” he said. 1 He was a modernist without portfolio, constantly crossing boundaries into uncharted visual territory. In subject matter and styles, he made no distinction between high and low art, which he freely conflated in an oeuvre that is stylistically diverse yet consistent in depth and visual imagination.
Yesterday i participated in an auction in which around 15 lots by Anton Heyboer were offered. Some of them were sold but most of them were “unsold” /held up and prices stayed all below their estimates. During the auction the auctioneer urged her audience to go to the Anton Heyboer exhibition in the Gemeentemuseum and since after my lunch i had a spare half hour, i stopped at the museum and visited the Heyboer exhibition. The museum has a long history with Heyboer , because in his early years as a curator for the Museum , Hans Locher organized exhibitions on Heyboer and visited him frequently in his studio in Den Ilp, resulting in purchases and the start of a brilliant Heyboer collection. Later on Heyboer’s works became less and less important . This is the time when he started as a more commercial artist and sold his works across the street in Den Ilp, in a gallery run by his 5th wife.
But yesterday when i visited the exhibition in the Gemeentemuseum Den Haag ( Heyboer is on show until the 4th of February 2018) i was overwhelmed by the quality of its works from the sixties and seventies. I knew the etchings from the collection quite well, but the paintings were an eyeopener for me and i compared them immediately with the experience i had when i saw similar kind of paintings by Jean-Michel Basquiat in the Beyeler Museum some years ago.
There are many similarities between these two artists and their paintings and when you realize that most of these were made 20 to 25 years before Basquiat made his works you can only admire the Heyboer’s even more. I like this Heyboer exhibition very much and for me it is one of the best the Gemeentemuseum organized in the last 5 years.
and of course there are some nice Heyboer publications available at www.ftn-books.com