Keith Haring is a regular subject for these blogs i write and a good reason is the small collection of books and other items i bought recently. In all there are 25 different titles added to my inventory. Among these my personal favorit ” Nina’s book of Little Things!”.
A highly personal title he made in 1988 for the birthday of Nina, his friends daughter.
A “thank you” present for staying at the Clement family home. A gift that will delight generations to come and which is now available at www.ftn-books.com
Without realizing it i have collected some nice collectable items by Eugenio Carmi which are all available at http://www.ftn-books.com
Carmi was one of the first Modern Abstract painters in Italy. By chance i collected some works, but finding info on him was musch harder so here is the text i found on Wikipedia.
He is considered to have been one of the main exponents of abstractionism in Italy.
Born in Genoa, in 1938 Carmi moved to Switzerland because of the racial laws imposed by Benito Mussolini. He graduated in Chemistry at the ETH Zurich. Carmi returned to Italy after the war, where he studied painting with Felice Casorati and sculpture with Guido Galletti.
In the early 1950s, Carmi abandoned the informal style and adopted a geometric rigor in his works.His works often used factory materials such as welded steel and iron.
Between 1958 and 1965 Carmi collaborated with the steel company Italsider (later Ilva) as their responsible for the image.In 1963 he founded with Flavio Costantini and Emanuele Luzzati the cooperative of artists Galleria del Deposito. A close friend of Umberto Eco, he collaborated with him on several projects.] He also taught in several academies
One of my earliest blogs (2016) was dedicated to Charlotte Mutsaers. I explained the importance of Mutsaers for dutch art in general. Mutsaers has started as a teacher in art and as as higy original painter. I Think her paintings from the early Eighties belong to the most important ones from that period. This conclusion is not lightly taken. Yesterday evening i leafed throught the catalogue which was published on the occasion of her exhibition at the Koninklijke Bibliotheek in Den Haag and i was really impressed. Timeless, Poignant and colorful they impressed me once again. Some 25 yeasr ago, Mutsaers made a career swith and decided for a career in writing and since she has published some of the most important books in the dutch language. I like her books, but when i had to chose i always would chose one of her paintings instead of one of her books.
It was a few months ago that i sold a book on Conroy Maddox and the next day i started to look into his career. This was because galerie d”eendt published the book and i ahve always admired the program by d’Eendt.
Conroy Maddox was an English surrealist painter, collagist, writer and lecturer; and a key figure in the Birmingham Surrealist movement.
He was born in Ledbury, Herefordshire, and discovered surrealism in 1935, spending the rest of his life exploring its potential through his paintings, collages, photographs, objects and texts. Inspired by artists such as Max Ernst, Oscar Domínguez and Salvador Dalí, he rejected academic painting in favour of techniques that expressed the surrealistic spirit of rebellion. Maddox officially joined the British Surrealist Group in 1938.
His creations soon began not only to challenge the conventional view of reality, but also to push pictorial expression to the limits of consciousness. He was even implicated in both scandal and controversy when, during World War II, Scotland Yard suspected him of fifth columnist sabotage and mounted a surprise raid to seize works thought to contain coded messages to the enemy.
Following the war he moved to Balsall Heath and began his most active period. In 1948, he married Nan Burton. They had a daughter and a son together, but had the marriage dissolved in 1955. He died in London, aged 92.
The one copy of the d’Eendt catalogue that remains is now available at www.ftn-books.com
The year 1982, the exhibition …l’Air du Temps….location Galerie d’Art Contemporain Nice….the artists… Alberola, Blanchard, Blais, Boisrond, Castellas, Combas, Denis, di-Rosa, En avant comme avant, Favier, Gainon, Giard, Laget, Lanneau and Rousse.
All artists were member of the FIGURATION LIBRE group and have gained world fame in the decades after this exhibition. What makes this catalogue special is that it is the only copy currently available on the market and from an art historical point of view. It presents these artists for the first time together in one of the major museums for modern art. Beside that a text is written by Ben Vautier ( Fluxus) who was and is an admirer of the Figuration Libre. This i the only copy i have available and it is very special , since the condition is excellent and it is dedicated to Riekje Swart who was the first to present these Figuration Libre artists in the Netherlands.
Some will say and compare him as being a dutch Lucian Freud, but Barend Blankert is for me still Barend Blankert and personally i would not compare him with anybody else.
Every time i encounter a painting by Blankert and study it i make up my own story. The scene and composition are the inspiration and the result always an original story and probabaly not the story Blankert intended.
So beside the impressive painting technique in which Blankert excels his storytelling is another quality this artist has. It is well worth studying this artist and whenever there is a possibility to see his paintings, do not hesitate and go there to admire these.
van Oostende his works are relayted to the ones Anton Heyboer made during the Seventies. Many dry point etchings and filled with a symbolic/abstract language. van Oostende was at one time a pupil of heyboer and they always stayed in close contact. The admiration for Heyboer shows in his works.
Not many books are published on van Oostende and hardly any museum presentations make this artist not very well known. Still leaf through the book ( available at http://www.ftn-books.com ) and you see real quality art work by an artist who derves to be known much more. Abstract etchings, painting and special publications make this an artist well worh colelcting.
The most informative text on Marc Bijl i encountered on Wikipedia, but on a personal note, i agree with every element of this text. Marc Bijl stands for art on the borders of society in which gothic and punk are combined with Pop Culture…. I love it.
From 1992 until 1997 Marc Bijl studied at the Royal Academy of Art & Design in ‘s–Hertogenbosch. In 1996 he studied for a year at Glasgow School of Art. In his early work, Marc Bijl reacted to global themes and to popular fascination with symbols of political power, globalization of the economy, religion and nationalism. This resulted in interventions in public space, videos, sculptures and installations that underscored or undermined world views. Bijl endeavours to expose superficialities and myths via his work. Bijl switches in his work between political activity and street culture as he does between the media of image, text and music. He exposes the superficialities, icons and myths of popular culture in his work to stimulate the spectator to contemplate about moral and ethical issues. The symbol, the logo and the label are his potential targets and his artistic tools. He likes to upset, relocate and re-connote their superficial image and their mythmaking – always aiming at a critical analysis of the social conditions of the society. Bijl employs visual elements borrowed from punk and Gothic subcultures and from anarchism. His early works are representational, cartoon-like and often textual. His recent work is more abstract and minimalistic, exemplifying a shift in approach, by which he pares down different perspectives and methodologies to a new essence. The crux is no longer the ‘symbolism’ but what that symbolism represents and signifies. In these most recent works, Bijl makes clear references to modernist art-historical icons such as Mark Rothko, Mondriaan, De Stijl (Rietveld chair) and more subtle references to Jannis Kounellis and Joseph Beuys. Bijl adapts these classical works to his own corporate style. He seeks a more abstract formal language that is in many respects more ambiguous than his earlier vocabulary.
Bijl undermines systems but at the same time he is depended on these systems. Bijl’s work is often rebellious and tends to the illegality. His work is clearly rooted in street culture and possesses elements of graffiti, performance and installation art.
Together with Woody van Amen Tajiri and Daan van Golden , i consider Zekveld to be one of the great 4 Pop Art artists in the Netherlands. Zekveld was appreciated by Hans Sonnenberg , gallery owner of galerie delta in Rotetrdam and over the years he stayed loyal to Zekveld. The fame of Zekveld has never taken off, but now that Sixties and Seventies art are making a revival, Zekveld his works surface at auctions and fetch reasonable prices. Still affordable, but definitely on the rise.
http://www.ftn-books.com has bought a great small collection of Zekveld catalogues that were published for the Delta exhibitions which is now for sale.
Here is one of the most cherished titles i now also can offer on http://www.ftn-books.com. I now have two sopies of which one becomes for sale. This is special for me. It shows the importance of Ad Petersen as a curator for the Stedelijk Museum and it shows the many contacts he had with world famous artists. He kept and collected the envelopes of the artists he corresponded with and among them many were art themselves, being true ” Mail art”. Studio Anthon Beeke recognized this and published together with Anthon Beeke and Ad Petersen a selection of over 60 envelopes and published these in the book EEN KLEINE VISUELE KEITELING. The design of the book and the collection of envelopes is sublime. Making this one of the most cherished books in my personal collection.
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