If ever there was one potter who was of great influence to the dutch potter generations to follow it must have been Chris Lanooy. He set a standard with forms and decorations for the decades to come and for instance the Rozenburg and Gouda potteries were all highly influenced by this master potter. It is of late that his works are recognized as highly influential and authentic and a recent monograph TUSSEN TWEE VUREN from some years ago proves it. ( available at www.ftn-books.com)
OLYMPUS DIGITAL CAMERA
Chris Lanooy deserves to be recognized internationally as one of the great potters from last century since his pottery is now considered as true art.
I have had a weakness for the art of Victor Vasarely. It must have been one of my first encounters with Modern Art in the Mid Sixties. In the window of an art dealer in de Hoogstraat in Den Haag there were on display signed serigraphs by Vasarely and since OP Art and Pop Art were popular i took an interest in these Vasarely too. I could not afford them, but found some 20 years later that Vasarely published highly affordable book publications which had the same quality as his prints. I have been collecting and adding Vasarely books and special publications to my collections ever since and yesterday i added another special publication. It is the 1961 Hanover gallery Vasarely catalogue. Not too many pages ( 32) , but what makes this special is the extra silkscreened inlay which can be combinedx together with the first print within the catalogue. My guess is not many of this rare cataloguue will have survived and what makes it even more special is the pristine condition of both silkscreened print and bookpage. Here are the photographs of this special and highly collectible Vasarely catalogue which is now available at www.ftn-books.com
Jaski Art was founded in 1988 and it must have been shortly after that they represented Corneille as an artist. From that day on Corneille commercial success was far more than ever expected. AS a CBRA artist , Corneille was known for his composition and child like drawings, but as his name grew he was appreciated for his female heads, nudes and birds and in many cases a colorful comppostion soft all three elements. Personally i think Corneille of the last 3 decades is less interesteing than his early period. There are of course exceptions and one of those is the Corneille 1992 publications which contains an original lithograph with one of his child like drawings . Signed and numbered from an edition of only 250 copies this is the one to have and available at www.ftn-books.com
It has all the qualities of his early Cobra work and illustrated why as a COBRA artist Corneille is one of the greatest.
Hollum/Rotterdam, Daan van Golden/Rotterdamse Kunststichting, 1971. Folded green cover with letterpress containing a stapled cellophane wrapped herbarium, 22,5 x 15 cms. (assemblage) between 2 cardboard sheets, 25 x 21 cms., consisting of a colour postcard, feathers, sand, tree-leaves, grass, fern. Van Golden spends October and November 1971 on the island of Ameland; while walking and cycling he collects leaves, mosses and so on; the result is a series of 500 cellophane wrapped herbariums. Van Golden’s Ameland report is distributed as the 6th edition of the ‘Atlas voor een nieuwe metropool’.
Thi is the comple description of the publication which was made after AVn Golden visited Ameland for the Atlas van een nieuwe Metropool project. This extremely rare publication is now available at www.ftnbooks.com
Claes Oldenburg and Coosje van Bruggen. They are a couple and the reason i mention this is that without Coosje van Bruggen , Oldenburg would never have become the great artist he now is. van Bruggen has written all monographs on Oldenburg and is mentioned in every publication. van Bruggen was his second wife, but undoubtedly the one who had the greatest influence on him and his works. It was about 15 years ago that i for the first time encountered in real life some other work by Oldenburg than the screw from the Boymans van Beuningen collection.
We visited the Guggenheim in Bilbao and there they were ( nowadays the space is occupied by the MATTER OF TIME by Serra) Immense sculptures made out of polyester and painted in bright colors in a Gehry surroundings. The ensemble of both reminded me of a Disneyland setting, but these sculptures were so impressive that i, for the first time, realized the importance of Oldenburg as a sculptor. It is still a rare occasion that i encounter a large Oldenburg but since the Bilbao sculptures i am looking with different eyes to all Oldenburg sculptures including the very familiar SCREW at the Boymans van Beuningen museum. www.ftn-books.com has some nice Oldenburg publications available including the Crouwel designed Stedelijk Museum catalogue from 1977 and the Crouwel designed poster for this exhibition.
Garouste is now one of the grand “old” mater painters in France, but that has not always been the case. From the mid Seventies until the early 80’s he was one of the angry young French wild painters who rose to fame with (extremely) large paintings of which many were brought together in the Bordeaux CAPC museum in 1987.
Since his star rose in France and abroad and now he has the stature of one of the great 20th century painters…and deservedly so, because his paintings are one of a kind and you will not lightly forget a Garouste painting once you have seen one. Unfortunately these are far too large for any private collection and i am personally not the greatest fan of his smaller works. The best you can do is buy one of the great catalogues which is publiched in one of the last 3 decades and emerge in the world Garouste has created with his impressive paintings.
Try to find a photo portrait of Kiki Lamers on the internet and you will have a hard time finding one. I do not know if this is the result of the anonymity the artist wants for herself or that she wants that her art is judged on itself and that the creator of the art is of no importance. Her portraits are one of a kind and perhaps her child portraits are best known of them all.
There was a time that her paintings, because of oscenity, were removed from a show in France and she had to go on trial to defend herself and her art. The court in France even sentenced her after her appeal to pay a fine of 5000 euro, but did not dare to sentence her with prison time. Personally i think that the artist is one of the persons that is free to express him/her self in a way he/she choses to do and when you look at the delicate portraits of the young/boys and girls Kiki Lamers has made over time you must admire them. These are far from obscene. www.ftn-books.com has some Kiki Lamers titles available.
The second weekly on Piet Dirkx i devoted to part of the Biotoop project presentation at the Gemeentemuseum Den Haag. This extremely large painting (aprox size 280 x 110 cm.) is executed in wax and shows Piet Dirkx his development in the mid Nineties. Layer and layer of wax over eachother. Spectacular colors, nice composition makes this one of the highlights from the Nineties. ( Collection Thijs & Jochem Bakker /Lucas van den Elshout)
He is for certain one of the greatest Pop Art artists if ever there was one. One from the first generation of Pop Art artists who rose to fame in the early 60’s and who even had some great exhibitions in the years to follow at the Stedelijk Museum and the Boymans van Beuningen museum in the Netherlands in the 60’s and 70’s. Both museum have since some great paintings in their collections , (left Stedelijk / right Boymans van Beuningen)
but the Stedelijk Museum stands out for me , because beside multiple art works in their collection they published one of the first simple orange/red catalogues designed by Wim Crouwel. This one devoted specially to the drawings of Jim Dine and available at www.ftn-books.com and this is Wim Crouwel classic
But of course there are other Jim DIne titles also available at www.ftn-books.com
Leiko Ikemura (イケムラレイコIkemura Reiko, born August 22, 1951 in Tsu, Mie Prefecture, Japan) is a Japanese-Swiss painter and sculptor.
It is often said that Leiko Ikemura’s work is characterised by the encounter of two cultures: it references Western art history, but the themes and formal vocabulary also immerse the beholder in the Japanese tradition, which venerates asymmetry, incompleteness, and ambiguity. “Imagination is the strongest force in my work”, says the artist, and it is precisely this exercise of completing something with one’s imagination that enables the viewer to enter into a dialogue with the Western tradition, which is oriented towards limits, an avoidance of ambiguity, and symmetry. In her art, Ikemura attempts to elude rational control and to immerse herself and the beholder in sensual and emotional experience. The viewer seems to find himself in a kind of intermediate world, in horizontal landscapes with visually unlimited pictorial spaces, or in cosmic landscapes whose forms may be interpreted anthropomorphically – human creatures take on the shapes of animals, or trees or rocks metamorphose into human faces. The transitions are always fluid – in painting and sculpture, in landscape and in human portrayals. Leiko Ikemura was born in Tsu, Japan. She studied Spanish literature at the University of Foreign Languages in Ōsaka and emigrated to Spain in 1972 to intensify her studies in Salamanca and Granada. From 1973 until 1978 she pursued painting studies at the Academy in Seville. After moving to Switzerland Ikemura left a lasting impression on the Zurich art scene of the Eighties. In 1983, the Bonner Kunstverein dedicated her works a major exhibition.
Leiko Ikemura lives and works in Berlin and Cologne.
This is just a short description of her life i found on the Karsten Greve gallery site, but there is much more to the work of Leiko Ikemura. Just take a look at some of her works and i hope you notice too that her works are a cross between the Japanese Anime figures and the watercolors by Marlene Dumas. The result is a personal and recognizable style. Ikemura is represented by the Karsten Greve gallery.
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