To be honest….this artist was completely new to me. Learned that he lives and works in Paris , but is dutch born. Het tells complete stories in his drawings and paintings and one has to really study these closely to discover their meaning. The catalogue i discovered is excellent and published by the galerie Polaris in 2016
Graduated from the Willem de Kooning Academy in Rotterdam, he lives and works in Paris.
If a big part of Marcos Carrasquer’s works fascinates, , it is due to a strong originality, graphic as pictorial, but also to an overflowing imagination, on the strangest and most ironic representations of the contemporary History.
Marcos Carrasquer show us, not without a lot of humor our own incredulity in the face of our contemporary history.
Here the artist neither is an archivist, nor documents the history. He seizes and accumulates, without any limit, references of the contemporary History and those of his family, but without ever falling in the satire, and imagine when the collective madness seizes the man, another more optimistic end is still possible.
If the stupidity of the man is underlined, the nonsense of the scenes, creative, and stimulating, also comes along with a world of animals (moles, rhinoceros, mouses, warms, monkeys…), having all a function and a role to play in the drawing or the painting, sending back like a mirror to the defects of the men with a very asserted irony.
And if it is difficult for us spectator to master in the first look, all this multitude of elements which are linked some with the others to create together other forms, we can recognize in this work an extraordinary imagination accompanied by a total and incredible control of the drawing.
The risk of the obsessional is always avoided, by a balance of the composition, up to the slightest detail, as the wallpaper that we guess behind a crowd of objects, themselves behind a crowd of characters, this interweaving of elements, this visual maelstrom can only delight our retina.
And it is through the numerous subjects approached and crossed by the artist, that the relevance of this work sends back to a certain jubilation of the spectator.
The following text comes from the TATE modern site:
In 1963 Durham’s strong interest in the civil rights movement led him into performance, theatre and literature. Encouraged by the African American playwright and Pulitzer Prize winner Vivian Ayers, Durham held his first performance at the Arena Theatre in Houston in 1963. He also started to publish poetry in progressive magazines and alternative newspapers. After these first forays into the arts Durham enrolled at the University of Texas in Austin, where he exhibited his work in 1965. Hemoved to Geneva in 1969 and enrolled at the École nationale supérieure des beaux-arts, where he focused on performance and abstract sculpture.
In 1973 Durham moved back to the US and became a full-time organiser for the American Indian Movement and, a year later, a member of its Central Council. In 1974 Durham was appointed Executive Director of the newly established International Indian Treaty Council and moved to New York. From 1975 to 1980 he was co-editor of the Council’s monthly newspaper, the Treaty Council News. He also served as the representative of Treaty Council at the United Nations.
In 1980 Durham left the American Indian Movement and the International Indian Treaty Council and returned to his artistic practice. In the early 1980s he was Director of the Foundation for the Community of Artists in New York and editor of its monthly publication, Art and Artists Newspaper (formerly Artworkers News).In 1983 he published a book of poems, Columbus Day, with West End Press. In an article in Art in America in 1993 the art critic Lucy Lippard wrote of Durham’s work, ‘[T]hrough punning titles and contemporary details like discarded car parts, hardware, plastic toys, a police barrier or quotations from [post-colonial philosopher] Frantz Fanon, the sculptures break through the Western time frame that is supposed to confine them.’1
In 1987 Durham moved to Cuernavaca, Mexico, where he lived with his partner, artist Maria Thereza Alves. Over the next few years he showed his work frequently in both solo exhibitions (including a travelling show at Exit Art, New York in 1989) and group exhibitions, such as documenta IX in Kassel in 1992 and the Whitney Biennial in New York in 1993. Durham’s concerns about the rights of American Indians and colonialism remained an important aspect of his thinking and were reflected in his published writings, for example, in Artforum, Third Text, New Observations and Art Journal. In 1993 a compendium of his essays, A Certain Lack of Coherence, was published by Kala Press. A second volume of Durham’s writings, Jimmie Durham: Waiting to be Interrupted. Selected Writings 1993–2012, was published by the Museum of Contemporary Art, Antwerp and Mousse Publishing in 2014.
Durham’s practice incorporated a range of media and processes such as sculptural assemblage, painting, drawing, collage, printmaking, photography, video, performance and poetry. His art and writing in the 1980s and early 1990s sought to undermine mainstream imagery and narratives about Native Americans through ironic subversion. In essays such as ‘The Ground Has Been Covered’, published in Artforum in 1988, Durham argued that the oppression and misrepresentation of Native Americans was a fundamental reality of the US national project that needed to be challenged and undermined. Durham continued to use in his artworks whatever materials were near to hand and accessible, including stone, wood and animal bones and hides, alongside car parts, plastic and metal pipe, glass and other detritus of the modern world.
In 1994 Durham returned to Europe and remained there for the rest of his life, living and working in several different cities including Dublin, Rome and Berlin. In Europe his work often focused on the deconstruction of national identities and an analysis of the narratives, architecture and monuments relating to them. In a 2017 interview Durham described his approach to national identity in the following way:
I did leave home deliberately and have been accused of not being part of any Indian community, and that’s certainly a correct accusation. I’m not, don’t want to be. But I think when I came to Europe this time, in ’94, I stopped being any special kind of human being … I could never be any nationality, not of the Cherokee nation or any other nation … These days, it sounds stupid to say I’m a citizen of the world. I don’t think I am a citizen, I think I’m a homeless person in the world, and I like to be that way.2
Durham’s work has been shown widely in Europe, as well as in numerous international exhibitions and biennials, such as the Gwangju Biennial in 2004, the Venice Biennale in 2001, 2003, 2005 and 2011, and documenta in Kassel in 1992 and 2012. In 2005 Durham co-curated, with Richard William Hill, The American West at Compton Verney in Warwickshire, an exhibition that challenged the myths arising from the European expansion across North America. There have been several large, monographic exhibitions of Durham’s work, including From the West Pacific to the East Atlantic at the Musée d’art contemporaine, Marseille and GEM in The Hague in 2003, and Pierres rejetés at the Musée d’Art Moderne de la Ville de Paris in 2009. In 2012 MuHKA in Antwerp exhibited a career retrospective, A Matter of Life and Death and Singing. Further important solo exhibitions were staged at Portikus, Frankfurt (2010), at Neuer Berliner Kunstverein, Berlin and at the Serpentine Gallery, London (both 2015). Durham received the Goslarer Kaiserring, a major international prize for contemporary art, in 2016, and was awarded the 2017 Robert Rauschenberg Award. In 2017 Durham also had his first solo show in the United States for over two decades: the survey exhibition Jimmie Durham: At the Center of the World, which was organised by the Hammer Museum, Los Angeles and travelled to museums across North America.
In her work, Lili Dujourie expresses an imagery that delves into the beauty of art history to touch on the themes of vanity, transience, presence and absence, and melancholy. Her work is full of cultural references drawn from literature, music, film and painting. With her first sculptures from the 1960s, Lili Dujourie entered into a critical dialogue with the minimal and conceptual art that was predominant in the art scene at the time, and in the following decade she turned to photography and video. In her black-and-white videos especially, which are without sound and often feature the naked female body as the subject, Lili Dujourie explores the themes of identity and gender that animate the contemporary feminist debate. The dichotomy between movement and stillness, between two and three-dimensionality, between figuration and abstraction, has underpinned all her artistic research to date. In a constant oscillation between painting and sculpture, Lili Dujourie has used different materials in her works, such as paper, velvet, marble, plaster, lead, clay and iron, revealing their internal contradictions.
These materials can be understood as soft and hard, malleable and rigid, fluid and solid, sensual yet inert: this depends on the extent to which the viewer’s perception of them is modified by the “poetry” that results from their manipulation. “I choose materials for their meaning and they are always both matter and medium”.
Daniel Graffin’s creative work was primarily inspired by the 1950s. 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 unified with the political freedom of the United States society as opposed to the strict nature of the Soviet bloc. Influential 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 revisionism of this period has highlighted the contributions of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois, amongst others.
The secon reason is that Wim Crouwel designed the publication for the Daniel Graffin exhibition in the Stedelijk Museum in 1977. Impressive in the deep blue color he used one side for the promotion of the exhibition (poster side) and the other for the artist information. This poster is now available at www.ftn-books.com
The multi-artist Flemming Quist Møller, who made a reputation for himself as an illustrator, youngsters’s guide writer, musician, movie screenwriter and even actor, is very identified for his standard works.
These embody the debut guide ‘Cykelmyggen Egon’ from 1967, ‘Benny’s bathtub’ from 1969, ‘Snuden’ from 1980 and ‘Jungleader Hugo’ from 1989, which he collaborated on along with his son Carl Quist-Møller.
A number of of Flemming Quist Møller’s works have been printed each as youngsters’s books and cartoons.
In 2005, Flemming Quist Møller adopted up on the debut guide with ‘Cykelmyggen og Dansemyggen’, which was additionally printed as a cartoon in 2007.
Flemming Quist Møller was born on 19 Might 1942 and grew up in Taarbæk north of Copenhagen.
After a brief training on the Copenhagen animated movie firm Bent Barfod Movie between 1960 and 1961, he later turned a self-taught multi-artist, the place it was particularly as a author, illustrator, musician and movie director that he later turned nationally identified.
Gained a number of awards Throughout his a few years of labor, Flemming Quist Møller obtained quite a lot of awards and accolades.
Amongst different issues, he obtained the Gyldendal Kids’s Ebook Prize in 2006 and the Ministry of Tradition’s Illustrator Prize in 1983, whereas he was additionally awarded an Honorary Bodil in 1994 for his animated movies.
In 2019, Quist Møller was awarded the Statens Kunstfond’s lifelong honor.
Mary Shaffer first explored slumped glass in the early 1970s, combining it with found materials. A recurring theme is one in which she marries the glass with discarded metal tools selected from a pile in her studio. Sheets of glass are heated into a plastic state, then allowed to slump, or sag, over sections of the tools or minimal geometric forms. The hot glass is cooled, arresting the fluidity, producing a folded or gracefully draped state more akin to fabric. Shaffer’s work in every medium reveals a fascination with the effects and manipulation of viscosity, leverage, balance, inertia, mass, and space.
Shaffer’s work is in collections at the American Craft Museum, New York City, NY; Corning Museum of Glass, Corning, NY; and Metropolitan Museum of Art, New York City, NY; The Detroit Institute of Arts, Detroit, MI; The Toledo Museum of Art, Toledo, Ohio; plus prestigious art institutions in France, Switzerland, Japan, Germany, Denmark. During her career Shaffer’s works have been exhibited at numerous galleries and museums. At present, Shaffer divides her time between New York and New Mexico.
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.
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