The artist resides and works on the northern outskirts of Assen, in a rich archaeological area of old cart tracks, remnants of prehistoric dwellings, imprints of vanished farms, and a valley stream. His fascination for soil stratification in time was sparked by an unearthed Roman treasure in his hometown of Beilen. For instance, a map of the Balloërveld hangs in his studio. This displays all the zones, speckles, lines, former watercourses, and even a tank trench. By examining this, one can immediately grasp the subject matter of his work, and where the title of his latest exhibition, ‘Traces of Traces,’ comes from. True to form, his abstract paintings do indeed tell a story. They are not mere illustrations for an archaeological narrative; they are the story itself, not as a collection of anecdotes, but as the universal tale of the stratification of things. Translated into his own unique idiom.
www.ftn-books.com has the TRACES book by Lanjouw now available.
In the realm of drawing, Terry Thompson reigns supreme, with the human figure taking center stage in his creations. From nudes to intertwined figures and anatomical studies, the central image in his drawings is often inspired by the depictions of the human body during the Renaissance. These figures are surrounded by peculiar and abstract forms, at times resembling mystical symbols.
Thompson’s pieces are reflective of his associative thought process, finding a connection between reason and emotion. The artist’s intention is not to reveal too many secrets behind his myth-inspired drawings, but rather to let the viewer wander through his enigmatic universe.
In addition, more than twenty years ago, Thompson stumbled upon sculpting by chance. A colleague gifted him a few kilos of modeling wax with the promise of casting the end result in bronze. It was love at first touch. The tactile element proved to be one of the many allures of sculpting. Furthermore, the difference in perspective when working in three dimensions and in relation to the surrounding space was what drew the artist towards this medium.
Although Thompson had solely worked in two-dimensional art until then, the sculptures seamlessly complemented his drawings. As a result, the appearance of the sculptures transformed over time, in sync with the drawings. From organic abstract to distinct figurative, his work has evolved into a blend of the two styles.
Crafting Art: The Enigmatic Complexity of Frail Gestures and Vulnerable Materials
When creating his art, the artist deliberately incorporates the use of frail and sometimes unpredictable movements and delicate materials, juxtaposing them with soft geometric shapes and lines. By showcasing the wall or a blank canvas as the “picture plane,” alongside elements or fragments that seem to exist in a temporary and scattered manner, the artist raises questions about our connection with the artwork as a whole. He symbolizes the absence of matter, whether it be the holes in the paper or the empty spaces between works, as if imbuing them with volume and an indescribable presence.
Through a minimalistic approach to painting and a deliberate restraint in his interventions, the artist directs our attention to the intricacies of his work, making us keenly aware of their structured and delicate nature. This manipulation of detail adds a layer of complexity and unpredictability to the art, causing the viewer to reassess their relationship with the image as they perceive it.
www.ftn-books.com has the scarce MELODERNIA publication now available.
Hamilton was a native of London, receiving instruction from the Royal Academy Schools between the years of 1938 and 1940. He then proceeded to study engineering design at a Government Training Centre in 1940 before being employed as a designer for ‘jig and tool’ machinery. In 1946, he returned to the Royal Academy Schools, but was eventually expelled for his failure to grasp the teachings within the painting school (Hamilton, p.10). Despite this setback, he later attended the renowned Slade School of Art from 1948 to 1951.
In 1950, Gimpel Fils in London hosted an exhibition showcasing Hamilton’s engravings, inspired by D’Arcy Wentworth Thompson’s bold 1913 piece, On Growth and Form. The latter had recently been republished in 1942, exerting a profound influence on Hamilton’s nascent work. As a testament to his creative aptitude, he also devised and curated notable exhibitions such as Growth and Form, presented at the Institute of Contemporary Arts in 1951, and Man, Machine and Motion, held at the Hatton Gallery in Newcastle upon Tyne and again at the Institute of Contemporary Arts in 1955. Subsequently, he exhibited at the prestigious Hanover Gallery in 1955, and contributed to the seminal event of This is Tomorrow at the Whitechapel Gallery in 1956, where he presented a striking collage piece entitled Just what is it that makes today’s homes so different, so appealing? for the event’s accompanying poster and catalogue. Alongside fellow visionary Victor Pasmore in 1957, he orchestrated an Exhibit at the Hatton Gallery and the Institute of Contemporary Arts.
Notably, Hamilton was a prominent figure of the Independent Group, an assembly of artists and writers founded in the 1950s at the Institute of Contemporary Arts. Their symposiums played a pivotal role in shaping the burgeoning Pop art movement in Britain. Hamilton was also a steadfast proponent of critic Lawrence Alloway’s widely acclaimed thesis concerning the ‘fine/pop art continuum’. In his own interpretation, Hamilton viewed this concept as a means of establishing the principle of equality in art – proposing that there exists no hierarchical ranking of artistic value. To him, Elvis held the same standing as artists like Picasso, occupying two distinct ends of the artistic continuum. Furthermore, Hamilton strongly maintained that television deserved as much recognition and influence as the likes of New York Abstract Expressionism.
Hamilton served as an instructor at the London Central School of Arts and Crafts and the University of Newcastle upon Tyne, but ultimately retired from full-time teaching in 1966. He also made a typographic rendition of Duchamp’s Green Box, which was published in 1960. Working closely with Duchamp, Hamilton reconstructed The Bride Stripped Bare by her Bachelors, Even (The Large Glass) (Tate Gallery T02011) in 1965-6. In the 1980s, Hamilton delved into incorporating technology into his artwork. He has had a successful career as a print-maker, and in 1983 he received the prestigious World Print Council Award. In 1991, Hamilton tied the knot with fellow artist Rita Donagh. Retrospective exhibitions of his work have been on display at the Hanover Gallery in 1964, the Tate Gallery in 1970 and 1992, and internationally. In fact, Hamilton represented Britain at the esteemed 1993 Venice Biennale.
www.ftn-books.com has several Richard Hamilton titles available. Among them the spectacular Stedelijk Museum catalog.
Stöhrer, a former student of H.A.P. Griesbacher in Stuttgart, relocated to Berlin in 1959, where he cultivated his own unique style, which he christened as ‘intra-psychic realism’. This technique involves the use of bold, dynamic brushstrokes to overlay written characters and calligraphic symbols with vibrant hues.
In his piece for the Reichstag Building, Stöhrer began by taking an impression from a plate specifically created for dry point engraving. He then embellished this blue-grey background with intricate black markings, tiny figures, and curvaceous lines. Next, he enlivened parts of this initial sketch with fervent strokes of red, orange, and other vibrant colors.
However, despite the intense emotional outpouring in his artwork, Stöhrer’s expressive gestures do not overshadow the underlying drawing, which seems to defy their boldness by hinting at a mysterious void beyond. Although he remained loyal to certain aspects of Art Informel until the end of his days, the powerful emotions embodied in the bursts of color in his work allowed him to escape the pitfall of monotonous, repetitive decoration.
Stöhrer’s paintings often feature surreal elements, reminiscent of Art Brut, children’s drawings, and the artwork of the mentally ill. Beneath the boldly executed brushstrokes, these elements serve as symbols of a profound inner turmoil lurking beneath the extroverted brilliance of the vibrant colors.
In this sense, Stöhrer’s works can be seen as acts of mental self-assertion, a testament to his lifelong struggle against the demons that arise from the depths of irrationality.
Tom Wesselmann was brought into the world in Cincinnati, Ohio, on February 23, 1931. His educational journey consisted of a stint at Hiram College in Ohio from 1949 to 1951, followed by admission into the University of Cincinnati. However, his studies were interrupted in 1953 when he was required to serve in the army for two years; during this time, he dabbled in the art of cartooning. Upon returning to the university in 1954, he obtained a bachelor’s degree in psychology in 1956. It was during this period that he made the decision to pursue a career in cartooning, leading him to enroll at the Art Academy of Cincinnati. After completing his studies, he relocated to New York City and was accepted into the prestigious Cooper Union. It was here that his focus shifted dramatically to fine art, culminating in the receipt of his diploma in 1959.
Wesselmann swiftly cemented his position as one of the prominent Pop artists of the 1960s in America, choosing to reject abstract expressionism in favor of classical depictions of the human form, still life, and landscapes. To make images as arresting as the abstract expressionism he admired, he integrated everyday objects and advertising ephemera in his collages and assemblages. His most famous works include the Great American Nude series, featuring voluptuous forms and vibrant colors.
Through the 1970s, Wesselmann continued to delve deeper into the concepts and mediums that had captured his attention in the Sixties. Notably, he worked on his series of Standing Still Life, creating free-standing shaped canvases featuring small, intimate objects on a grand scale. In 1980, under the pseudonym of Slim Stealingworth, he penned an autobiography chronicling the evolution of his artistic journey. He also furthered his exploration of shaped canvases, first exhibited in the 1960s, and began crafting his first metal pieces. He spearheaded the development of a laser-cutting technique, allowing him to faithfully transfer his drawings onto cut-out metal. In the 1990s and early 2000s, Wesselmann continued to expand on these themes, producing abstract three-dimensional images that he referred to as “going back to what I had desperately been striving for in 1959.” With ruminations of old age swirling in his mind, he found himself back where it all began. In his waning years, the female form once again beckoned him, manifesting itself in his series of Sunset Nudes. These paintings on canvas were a culmination of bold compositions, abstract imagery, and sanguine moods reminiscent of the odalisques depicted by the likes of Henri Matisse.
For over forty years, Wesselmann’s creative energy thrived in the bustling streets of New York City. It was here where he resided with his wife, Claire, and their children, Jenny, Kate, and Lane. In the same city that fueled his artistic pursuits, William Wesselmann passed away on December 17, 2004.
Hailing from Vienna, Austria, Xenia Hausner (born in 1951) has gained global recognition for her exceptional craftsmanship as an artist. Her trademark iconography features large-scale portraits, often depicting women, brimming with enigmatic complexity, fueled by her expressive use of dynamic and vibrant hues. Central to Hausner’s work are the concepts of humanity and the human condition, which she beautifully captures through the masterful interplay of radical colors and gestural brushstrokes. Her subjects are presented in a light that reflects their underlying vulnerability, loneliness, longing, and love. Drawing inspiration from her extensive travels, Hausner weaves in mental recollections and physical elements she has gathered during her journeys, and embellishes her pieces with photographs taken on her trips.
A graduate of the Vienna Painting Academy and the Royal Academy of Dramatic Art in London, Hausner’s entrance into the world of art was through her role as a set designer, starting her career at the Vienna Burgtheater in 1976. Over the span of 15 years, she lent her artistic vision to more than one hundred theater, opera, and film productions, including those at prestigious venues such as the Schiller Theater in Berlin, the Thalia Theater in Hamburg, and the Vienna State Opera. Her talent also graced major cultural events such as the Salzburg Festival, Covent Garden Opera in London, and the Theatre de la Monnaie in Brussels.
In 1992, Hausner relocated to Berlin, where she fully immersed herself in painting. She made a spectacular debut at the Martin Gropiusbau in Berlin with her exhibition “Die Kraft der Bilder” (The Craft of the Artist) in 1996, which was followed by solo shows in Salzburg and Vienna. That same year, Galerie Thomas in Munich featured her work in the exhibit “Menschenbilder.” Her pieces also caught the attention of a global audience at Art Cologne, thanks to a showcase by Galerie Thomas. In 1997, her work was highlighted at one-person exhibitions titled “Liebesfragmente” at the Museum Quarter Kunsthalle in Vienna and the Ludwig Museum in Leipzig.
Jean Miotte stands as a distinguished figure of lyrical abstraction within the New School of Paris. From the outset, he has favored gestures and action as a means to convey emotion, bearing witness to his complex relationship with sensitive reality. His discourse is rooted in a semantical understanding where he views the sign as the “I” who paints; as he declares, “I am painting.” Miotte’s approach exists at the intersection of two extremes: on one hand, a writing that reaches the pinnacle of thought and sensation, and on the other, a joint and exuberant spontaneity that immerses oneself in a Zen spirit. This calling to the void became more prominent in 1962 after regular visits to New York, where he formed bonds with Rothko and Motherwell. Miotte pays homage to white, which transforms into light and “radiates and erases limits,” according to him. The fluid space is bisected by vigorous flat areas, extending into hemmed waves that are torn apart in a spatial labyrinth, its complacent pitfalls suppressed.
His paintings display a return to polychromy, with a palette of pure tones, favoring the primaries that he exploits for their sounds. The use of brushes, spatulas, and knives allows for the effervescence of a cursive graphic design, with rich, vibrant, and sharp accents that create a dynamic universe governed by contradictory and dual forces. A dispersion emerged in the seventies and eighties, leading to a new cycle centered on metamorphosis. Between violence and refinement, density and transparency, fervor and revolt, Jean Miotte’s paintings achieve a quivering balance of life. The rhythmic arabesque of its forms echoes the dance that inspires it. The unity of his language is realized in this formless lyricism, reaching a pictorial plenitude by giving substance to his sensations of light and embodying an indefinable sacred energy of living.
Jean Miotte, who has exhibited in Paris alongside Joan Mitchell, Jean-Paul Riopelle, and Sam Francis, is a prominent figure in the world of art.
Alexander Archipenko’s birthdate of May 30, 1887, located in Kiev, Russia (currently known as Kyiv, Ukraine), marks the start of a remarkable journey. Enrolling in the Kiev Art School in 1902, he delved into the world of painting and sculpture, a pursuit that lasted until 1905. During this period, the exquisite Byzantine icons, frescoes, and mosaics of Kiev left a lasting impression on him. After a brief stay in Moscow, Archipenko made the move to Paris in 1908. His time at the Ecole des Beaux-Arts was short, but he continued honing his skills independently at the Musée du Louvre, which quickly sparked his interest in Egyptian, Assyrian, archaic Greek, and early Gothic sculptures. As early as 1910, his work was showcased at the Salon des Independents in Paris, and the following year debuted at the Salon d’Automne.
In 1912, Archipenko’s debut solo exhibition in Germany took place at the Museum Folkwang Hagen. That same year, he opened the first of many art schools in Paris and joined the Section d’Or group, along with fellow artists Georges Braque, Marcel Duchamp, Fernand Léger, and Pablo Picasso. It was during this time that he created his first painted reliefs, known as the Sculpto-Peintures. A year later, in 1913, Archipenko’s work was featured in the Armory Show in New York, and he ventured into the world of printmaking, with his pieces appearing in the Italian Futurist publication Lacerba in 1914. He continued to showcase his work at the Salon des Indépendants in 1914 and the Venice Biennale in 1920. Amidst the war, Archipenko found solace in Cimiez, a suburb of Nice. When the war ended, he traveled across Europe, exhibiting in cities such as Geneva, Zurich, Paris, London, Brussels, and Athens. In 1921, the Société Anonyme in New York hosted his first solo show in the United States.
The year 1923 saw Archipenko’s move from Berlin to the US, where he went on to establish art schools in New York City, Woodstock, New York, Los Angeles, and Chicago. Four years later, in 1924, he created his first kinetic work, the Archipentura. For the next three decades, he served as a teacher at different art schools and universities across the US, including the short-lived New Bauhaus. In 1928, he became a naturalized citizen of the United States.
The majority of Archipenko’s compositions housed in German museums were seized by the Nazis during their eradication of “degenerate art.” In 1947, he conceived his initial sculptures that radiate light from within. He joined his awe-inspiring exhibition of creations across Germany in the years 1955-56 and simultaneously commenced working on his book “Archipenko: Fifty Creative Years 1908-1958,” ultimately released in 1960. The luminary artist passed away on February 25, 1964, in the heart of New York City.
www.ftn-books.com has several important publications on Archipenko now available.
Renowned English artist Maggi Giles arrived in the Netherlands in 1965. A year later, she began working at the “Bouwkeramiek” department of the renowned pottery factory “De Porceleyne Fles” in Delft.
At “De Porceleyne Fles,” Maggi Giles quickly made contact with Karel Appel, for whom she executed the grand design for the Congress Building in The Hague. It was Karel Appel who brought her work to the attention of De Wilde, director of the Amsterdam Stedelijk Museum. He described it as “creating toys for grown-ups with ceramics…”
In 1970, she held her first solo exhibition at the Stedelijk Museum.
Four years later, Maggi Giles began working as an independent ceramist in a studio on the Prinsengracht in Amsterdam. The new environment inspired her to create “canal houses,” “gates,” “towers,” and “castles.” All of her work is executed in vibrant colors. To achieve this, she developed a technique that she still implements today, allowing her to place all desired colors side by side. In between the blocks, she creates small walls of clay, which later resemble the black lines of stained glass. Her lively use of color has always set her apart from other ceramists in the Netherlands.
In addition to creating autonomous pieces, Maggi Giles has also produced a significant amount of commissioned work, including wall reliefs for schools. In these works, her imaginative world serves as a rich source of inspiration, as well as her joy in using vibrant colors.
One of her latest commissioned pieces is a sculpture for the cruise ship “De Westendam” – a large yellow dog with blue ears emerging from the sea. Animals are a recurring element in her pieces, often combined with chairs to form one cohesive object, such as the 1988 “Elephant Chair” or the more complex “William” – a cat sitting on a throne-like chair with large elephant legs. Humor is also a frequent presence in Giles’ designs, evident in facial expressions and reinforced by titles such as “Members of the Amateur Cat Choir” from 1998. The sea from Giles’ childhood also plays a role throughout her entire body of work.
www.ftn-books.com has several important publications on Maggi Giles.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
