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Lawrence Weiner ( continued)

We are relocating!
In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time.
If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.

Lawrence Weiner was a conceptual artist and self-taught. He was early on impressed by Frank Stella and Jasper Johns. Verbal elements – texts and signs – play an important role in his work. He often presents cryptic texts, strongly magnified, on walls of museums and galleries, but also on graphics, photos, and everyday objects. The words form verbal abstractions of the artwork conceived by Weiner. It only comes to life in the mind of the spectator when they read the text and try to understand it.

Since 1970, Weiner has alternated between living in New York and Amsterdam, where he also creates books and graphics, often combining them with geometric graphic forms. For him, language is the most abstract thing that we have developed. He considers texts as sculptures that come alive in the minds of spectators.

Lawrence Weiner wants to break and change the conventional understanding of “visual art.” Initially, he worked with spray cans to let fire or bleach work on a fabric. In the late 1960s, that gave way to words, or statements. Over time, the texts became more abstract, philosophical, and poetic. He used adhesive letters to express his ideas.

Weiner also made films, in which texts were spoken and depicted. He is considered one of the first representatives of conceptual art. Later, he would also collaborate on performances in which artists made their own bodies the subject of the action: body art. In the Netherlands, Lawrence Weiner had major exhibitions at the Van Abbemuseum (Eindhoven, 1976) and the Stedelijk Museum (Amsterdam, 1988/89). At the Spui in Amsterdam, Weiner’s work “A Translation” lies, from one language to another, a commission from the University of Amsterdam to make it more visible in the city.

www.ftn-books.com just added 3 important Weiner titles to its collection.

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Robin Winters (continued)

We are relocating!
In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time.
If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.

Robin Winters is a conceptual artist whose work spans a wide range of media, including poetry, painting, sculpture (bronze and ceramic), installation art, and photography. Winters is known for his practice in Relational Aesthetics and has incorporated practices such as blind dates, double dates, and divination into his artistic works. W.B Bearman Bags a Job was one of the pieces in which he would invite his audience into a box he had created. While the audience and he were separated by a two-way mirror, he would speak with them, play music, and tell their future. There are several recurring themes in all of Winters’ work, including faces, boats, cars, and the image of the fool. In addition to his own artistic endeavors, Winters is also an art instructor and currently teaches at the School of Visual Arts in New York.

www.ftn-books.com has several Winters titles available.

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IN & OUT of Amsterdam/ Conceptual art

Arguably the best book on Conceptual art from the Netherlands.

Book published with the exhibition and examines approximately seventy-five works by artists of different nationalities relating to travel and the city of Amsterdam, which was the nexus of intense art activities in the 1960s and 1970s, when artists converged there from all over the world. Hanne Darboven, Gilbert & George, Sol LeWitt, Charlotte Posenenske, Allen Ruppersberg, and Lawrence Weiner, among others, spent considerable amounts of time in Amsterdam and often produced works in direct relation to the city. The Suriname-born Stanley Brouwn came to Amsterdam as a young adult in the mid-1950s, where he developed work that plays with the idea of dimensions and distances and prefigures a number of conceptual-based art practices. Reciprocally, some of the most influential Dutch artists traveled abroad extensively before establishing themselves in Amsterdam: Jan Dibbets studied in London, while Ger van Elk and Bas Jan Ader trained in Los Angeles. Because cross-influences between Dutch and American art scenes were so abundant, it is impossible to understand the historical significance of these artists without acknowledging their new mobility. In addition to drawings, installations, wall drawings, and films, the exhibition includes a large number of posters and ephemera.

One of the most outstanding books on the complex world of Conceptual Art in recent years is undoubtedly “IN & OUT of AMSTERDAM/ Travels in Conceptual Art 1960-1976.” This book holds a special place in my heart as it is a veritable treasure trove of ideas and exceptional publications that can still be found on the market. Published by MoMa, the same institution that held the exhibition of the same name in 2009, “In & Out of Amsterdam” showcases the most significant and arguably best works of the following artists: Bas Jan Ader, Stanley Brouwn, Hanne Darboven, Jan Dibbets, Ger van Elk, Gilbert & George, Sol LeWitt, Charlotte Posenenske, Allen Ruppersberg, and Lawrence Weiner. These exceptional artists were all featured in the Bulletins series published by Art & Project, and their publications have now become highly sought-after collector’s items. As these publications have been scarce since their initial release and have now been around for over 40 years, I highly recommend starting a collection of them while they are still accessible. Check out www.ftn-books.com for more information.

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Jouke Kleerebezem (1953)

With the touch screen as an interface and computer programs that translate and manipulate a simple pen stroke into a digital code, Kleerebezem rediscovered the primary expressive power of line, shape, and color. The frictionless digital liberation of his artistic handwriting proved to be the ultimate condition for the unrestrained lyricism and hybrid media use in his recent works, where he blends digital and analog methods together. Throughout the summer months, the artist works on new drawings, paintings, and (photo-)graphic works in the exhibition space. Through Instagram and his project’s own website, he reflects on the creative process and the context of the media used.

Digital formats also offer the work different modes of distribution and reception, such as through Instagram and self-publishing on the web. While under the title “Notes, Quotes, Provocations and Other Fair Use” between 1998 and 2005, he published his entire production on the internet without fail, in what was one of the first Dutch weblogs, analog and digital processes intersect in his recent work.

Kleerebezem’s imagination freely draws from both a direct and highly mediated experience of reality. The ways in which the world and reality are perceived, captured, “measured,” and represented in increasingly computerized media, shape our worldview and self-image. In Jouke Kleerebezem’s work, perception continuously falls apart only to be reassembled through improvisation, intertwining once again.

www.ftn-books.com has now several books on Kleerebezem available.

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Nelly Rudin (1928-2013)

Beginning in the mid-1960s, Rudin expanded the realm of Concrete Art, incorporating elements of Minimal Art through the use of serial objects composed of industrial assemblages. This is demonstrated in the recent works featured in this exhibition, such as Winkelobjekt no. 3a (Angle Object no. 3a, 2011) and Aluminiumobjekt no. 20 (Aluminium Object no. 20, 2000) and Aluminiumobjekt no. 11 (Aluminium Object no. 11, 1981/2010). The spatial projections of her picture and frame works – Bildobjekt no. 542 (Picture Object no. 542, 1984/2000) and Bildobjekt no. 447 (Picture Object no. 447, 1993) – have often elicited comparisons to the works of American artists such as Ellsworth Kelly, Frank Stella, and other representatives of Hard Edge and Colour Field Painting. While these comparisons hold validity, the element of viewer participation in Rudin’s work elevates it beyond mere categorization in the annals of art history, making it accessible and relevant to a wider audience. “Participation,” a concept often reduced to a trite phrase, takes on new meaning in Rudin’s pieces as they only reveal their full potential through the ever-shifting perspectives of the viewer. For those who have fully immersed themselves in the open, evocative space of this retrospective, Rudin’s enduring modernity will surely strike a chord.

www.ftn-books.com has the Bottrop exhibition poster now available.

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Delphine Reist (1970)

Delphine Reist (1970) presents a myriad of objects in her exhibits that come to life on their own: cars, tools, sinks transformed into fountains, office chairs, and flags that spin on their own axis. What is most striking, aside from this spontaneous movement, is that all these objects remain true to themselves. In her work, the shopping carts remain shopping carts, the oil remains oil, the drums are still drums, and so on. They are not representations of other objects, making it a form of concrete art.

Last year an exhibition was held at the Tinguely Museum, which invitattion card is now available at www.ftn-books.com

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Henk van den Bosch (1956)

Henk van den Bosch (1960) intricately incorporates the element of time within his works. To fully comprehend the creation, one must take their time and ponder – is it a window, a mirror, a painting within a painting, or another space that the piece reflects?

Judith van Meeuwen, curator at KAdE art hall, refers to this technique as “slow-looking.” Along with this direct encounter with time, references to seasons and the atmosphere of the 1950s also play a significant role. Van den Bosch’s paintings often depict vast interiors with a glimpse into an adjoining space. Be it through a window, a doorway, a staircase, or even the outdoors, the viewer is invited to wander through the composition, losing track of time.

In 1956, the Whitechapel Art Gallery in London unveiled the exhibition “This is Tomorrow,” which became the legendary starting point of British pop art. The entrance to the exhibition was marked by a large reproduction of a small collage by Richard Hamilton, which would later become an iconic symbol of British pop art.

The collage, aptly titled “Just What Is It That Makes Today’s Homes So Different, So Appealing?” was composed of magazine and advertisement clippings, arranged within a perspective space resembling a living room. In the center of the room stands a bodybuilder, while a pin-up model poses on the couch – the epitome of the modern couple in the language of advertising. Surrounding them are symbols of modern life, such as a television, tape recorder, vacuum cleaner, and a pulp comic strip serving as a modern painting on the wall. The window grants a glimpse of the bustling urban nightlife.

With just one glance, it is evident that the living room represents the essence of modern life in 1956.

At first glance, it is evident that the living room serves as a model for the modern life of 1956. Upon closer examination, Hamilton made use of other current images as well. It appears that the living room is composed of macro-shots of water, the moon’s surface, and a crowded summer beach, which respectively form the floor, ceiling, and rug. Thus, the spatial dimensions of the room are of a completely different order, a macrocosm in which modern life unfolds as a microcosm. It is precisely this relationship that made Hamilton’s Just What Is It… the icon of the modern future: tomorrow begins today.

www.ftn-books.com has the TRANSPOSITION book by van den Bosch now available.

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Pinterest pages by FTN books & Art

I have been filling some Pinterest pages with items i have in my inventory and which i think are nice tos hare with other collectors. It contains some great and important poster and book designs from the last 70 years. Please share these and hopefully you will enjoy these Pinterest boards too.

I have created four boards which are filled regularly with all original photo’s by FTN . Feel free to join the boards and use the photographs for noncommercial usage. I expect to post over 15.000 items on Pinterest in the coming year.

There now are boards on the inventory of FTN books & Art, Stedelijk MUseum Amsterdam, Wim Crouwel, Willem Sandberg

https://nl.pinterest.com/ftnbooksandart/wim-crouwel/ https://nl.pinterest.com/ftnbooksandart/stedelijk-museum-amsterdam/ https://nl.pinterest.com/ftnbooksandart/ftn-books-and-art/ https://nl.pinterest.com/ftnbooksandart/willem-sandberg/
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Black Friday weekend & Cyber Monday

About 10 years ago we/ I (in the Nethrelands )did not know about BLACK FRIDAY and its discounts, but since that time BLACK FRIDAY discounts have become established over here too.

The problem is that discounts are only given in the 4 days of the BF weekend, but i will change this al little bit.

+ a discount of 10% will be applicable until December 1st, 2024.

At www.ftn-books.com you will receive not only a 10% discount when you order from Friday 24th of November 00.01 hrs until Monday the 27th 23.59 hrs. a minimum of USD 100,– ( excluding postage).

Order over USD 100,– and use BF2310 to receive this immediate discount during the Black Friday weekend

After i have packed and sent your order you will receive a personal discount code by email which will be valid for ALL your purchases at www.ftn-books.com until the 1st of December 2024

This makes your order during the BF weekend much more attractive. Enjoy your shopping at www.ftn-books.com

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Diederik Klomberg (1963)

Born in Oisterwijk in 1963, Diederik Klomberg completed his graphic art education in 1989 at the Koninklijke Academie voor Beeldende Kunst en Vormgeving in Den Bosch. He then pursued a master’s degree at the Jan van Eyck Academie in Maastricht the following year.

Over the course of the past twenty-five years, Diederik Klomberg has established a formidable reputation for his site-specific artworks, which explore the illusory qualities of both two and three-dimensions. Klomberg pushes the boundaries of this illusional nature to its limits. Within Klomberg’s installations, visitors assume the roles of both spectators and actors, being challenged to reconstruct a deconstructed reality.

Noteworthy exhibitions of Klomberg’s works include showcases at Museum Boymans van Beuningen in 2016 and de Ketelfactory in 2018.

www.ftn-books.com has the Ramen 1990/2000 book now available.