Here is the collection of works of art by FTN art. These are all guaranteed original works, signed and dated by the artist from my personal collection and the inventory of ftn-books.
Renowned German artist Klaus Staudt stands as a prominent figure in Germany’s sphere of constructive-concrete art. Credited as the originator of autonomous reliefs, his creations never fail to evoke new sensations upon revisiting. With adept manipulation of light and shadow, surface and space, as well as form and color, Staudt challenges the conventional modes of perception. The use of Plexiglass proves to be a fitting medium for bringing his ideas to life, owing to its translucent and unobstructed nature. Through the use of strategically placed, simple wooden elements painted in crisp white, Staudt deftly creates a sense of rhythm and structure within the pictorial space. An inquisitive eye and contemplative mind are crucial for fully grasping the depth and complexity of Staudt’s artistic expression.
DYLABY is short for Dynamisch Labyrint, an exhibition held in 1962 at the Stedelijk Museum Amsterdam. It was a convergence of modern art, featuring some of the most iconic names in the art world: Tinguely, Niki de Saint Phalle, Robert Rauschenberg, and Martial Raysse. Despite being advertised as “chaos,” a closer examination of the exhibition’s catalogue reveals a well-planned and deliberate event. Though over fifty years have passed since its inception, the catalogue still holds significance as a historical document, both for the event that was DYLABY and for its own design. It provides a complete insider’s glimpse into the exhibition.
Additionally, the series of photographs by Ed van der Elsken featured in the catalogue are some of his best work. This catalogue, along with its accompanying separate exhibition plan, is a prized possession for art enthusiasts and can be found on www.ftn-books.com.
Artist and author names: Robert Rauschenberg, Raysse, Niki de Saint Phalle, Daniel Spoerri, Jean Tinguely, Per Olaf Ultvedt Title: DYLABY (Dynamisch Labyrint) Publisher: Stedelijk Museum, 1962 Number of pages: 24 pages plus 4-page cover/foldout and separate exhibition plan Text/Language: Dutch and English Measurements: 10.2 x 7.5 inches Condition: Near mint This DYLABY catalogue is one of the top three most sought-after and coveted Stedelijk Museum catalogues. It also includes the separate exhibition plan, making it even more special. The catalogue’s photographs were taken by Ed van der Elsken, further adding to its value. It is currently on display in the permanent exhibition at the Tinguely Museum, noted as catalog number 314.
Claude Viallat, born in 1936 in Nîmes, France, is a renowned artist who co-founded the Supports/Surfaces movement in the 1970s alongside Vincent Bioules and Daniel Dezeuze. Through his practice, Viallat aimed to expand the boundaries of painting beyond traditional stretched canvases.
One of his signature shapes, described by some as resembling a bone, is a rounded rectangle. This shape repeats itself across various surfaces, including industrial tarps, stitched-together fabric samples, and loose hanging sheets. Viallat’s use of nontraditional materials adds to the vibrant and dynamic nature of his paintings, which are characterized by squiggly geometric forms and kaleidoscopic patterns.
Bold and lively palettes are a hallmark of Viallat’s formal experimentation, evident in his extensive exhibitions around the world. His work has fetched six-figure sums at auction and can be found in prestigious collections such as the Centre Pompidou, the Fondation Cartier, the Museum of Modern Art, and the Kunstmuseum Basel.
Eva Lansink, a burgeoning contemporary artist based in Leiden, the Netherlands, possesses a unique skill set encompassing sculpture, graphic design, and photography. Her graduation masterpiece, DRIFT, comprised a collection of sculptures and etchings, accompanied by an art book. The story within explored an anthropomorphic realm where rabbits roamed free, unburdened by societal expectations, and fully embracing their fantasies without hesitation or guilt, challenging the receiver and observer alike.
In her latest photographic endeavor titled RAW, Lansink delves into the concept of raw love – an unbridled force guided solely by intuition and impulse. Her subjects are immersed in nature, unashamedly perverse and exhibitionistic.
The crux of Eva Lansink’s artistic expression lies in exposing the animalistic facets of human character, typically subdued to conform to societal norms. Through her work, she offers a glimpse into a world that exists beyond our mundane reality – one where our desires and needs can be indulged anonymously, free from the constraints of society.
www.ftn-books.com has t the DRIFT publication from an edition of 100 signed and numbered copies now available.
Ewerdt Hilgemann, a German sculptor residing in the Netherlands, is renowned for his intricate wall reliefs, installations, and sculptures. After a brief period of study at the Westfälische Wilhelms-Universität in Münster, he moved on to the Werkkunstschule in Saarbrücken.
In the 1960s, he received work grants that allowed him to explore the realms of printing and art colonies. He showcased his works at various locations across Europe before finally settling in the Netherlands in 1970. For many years, he taught sculpting at the Willem de Kooning Academy in Rotterdam.
Hilgemann’s works from the 1960s focused on wall reliefs made from wooden sticks, as well as serial, minimalist installations consisting of large tubes made from polyester and steel. This was followed by abstract-geometric wooden sculptures, based on grids and cubes.
www.ftn-books.com has now some of the earliest Seventies publications on Hilgemann available.
The subtle, frivolous drawings do not give away his true nature. His eyes portrayed like modern Art Nouveau posters, with graceful lines, twisted fairytale figures, and pretentiously gazing fashion models, just like his fellow countrymen Egon Schiele and Gustav Klimt had represented half a century earlier. However, Günter Brus was one of the most intense performance artists of his time, the 1960s, and a pioneer for generations to come. The Austrian passed away last weekend at the age of 85.
After his time at the Academy of Fine Arts in Graz and Vienna, he founded the Wiener Aktionismus in 1964, together with Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler. It was an experimental group of body artists who did not hesitate to physically resist against the Austrian conservatism, good taste, and the lasting, post-war fascism in their home country.
The quartet surely did not create art for the faint-hearted: anti-bourgeois, shameless, and controversial. Nitsch became famous for his ritualistic slaughters (pigs), crucifixions (humans), and blood paintings; Muehl organized pee contests, managed a commune (literally), and was accused of child abuse; Schwarzkogler enjoyed wrapping himself, mutilating himself with a corkscrew, and having intercourse with fish and chickens (although the myth about him cutting off his own penis turned out to not be true).
The pinnacle of Brus’ oeuvre is his public performance in 1968, in which he sings the national anthem while masturbating, smears himself with feces, and drinks his own urine (which he then vomits back up). This results in a six-month prison sentence and a ban from Austria. He fled to Berlin, where he remained in exile until 1976.
He started quite moderate, actually. In 1960, he painted himself, his wife, and his studio with black and white paint. From self-painting to self-mutilation, the work gradually evolved. Culminating in his last action, Zerreissprobe (1970), where he cut open his own skin with a razor.
Using the body as a “canvas” has become common in the art world since the Viennese actionists. Just look at Marina Abramovic, who in one of her performances, used a razor to cut a communist star into her own stomach. Thanks to her and other performance artists, the work of Brus (and his colleagues), despite controversies and convictions, has become acceptable again. And what was once unthinkable: in 1996, he received the prestigious Großer Österreichischer Staatspreis. But by then, he had already turned to “proper” drawing.
www.ftn-books.com has a substantial selection of Brus and Wiener A§ktionismus publications.
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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
This blog is meant to be a long overdue tribute to one of the artists I have admired in the first decade I was collecting art. I purchases my First KLEMENT at Arta in the early 70’s and realized when I visit my doctor, who has several Klements’ on the wall) that his art Is still appealing to me and has survived for 5 decades now.
Fon Klement’s journey as an artist began as a self-taught individual. After gaining recognition as a figurative painter and woodcutter, he ventured into the world of multicolored graphic sheets in 1960, using his distinctive technique known as “the relief cut board”. Gradually, recognizable forms made space for more abstract motifs, presented in a muted color palette.
The timing of Fon Klement’s rediscovery of the watercolor technique was impeccable, as he found himself at a crossroads in his artistic journey. The desire for change became increasingly strong, leading him on a quest that took him on a ten-week exploration of the Provence region. In his improvised studio in the southern French town of Lorgues, flowers were in abundance. Poppies, irises, roses, delphiniums, and hibiscus seduced the artist to continue pursuing the path he had previously embarked on: painting and watercoloring still lifes of flowers.
Since 1961, Fon Klement has been a member of Xylon, the international association of woodcutters, which regularly exhibits graphic art across Europe. The exhibition “Prints today in the USA”, featuring a comprehensive overview of Dutch artists’ prints including Fon Klement’s works, traveled extensively throughout the United States for many years. Fon Klement was awarded the Audience Prize during the “Grafiek Nu” graphic art biennial in Laren in autumn 1990, and later at the first international graphic art biennial in Maastricht in summer 1993.
www.ftn-books.com has now the van SPIJK publication on Fon Klement available.
Bianchi seeks the harmony of the elements by identifying the spatial dimension that emerges naturally from the combination of lines, shapes and volumes, emerging from the exaltation of material, its manipulation and essence properties that are the origin of true expression in the artist’s work. To do. From sophisticated research-driven combinations. The two monumental marble seats were originally designed in the cloister of the 17th-century Donna Regina Vecchia church to match its rich Baroque style, but are now recreated in his 18th-century Madre atrium. arranged to emphasize its typical neoclassical lines. At the same time, it proposes a new definition of space, an invitation to linger and contemplate. Beyond direct references to the art historical tradition, these two works raise questions related to the spatial and structural purpose of the work and its relationship to its surroundings, and are evocative and sensitive. It is symbolic of the way an artist works because it lives in the work in a way.
Adela Rodix is an artist, thinker, writer. She exhibits her works of art in leading galleries in Europe and America, such as Galerie Maeght. In her artistic career she is also known as Adela, R.D. Adela and Adela R. Duflos. She has a degree in History. Adela has also been a fashion and advertising model. From a Spanish-French family, she has been living in different countries, feeling herself as a pilgrim, a traveler. She lived for many years in Barcelona, Spain, and now she lives between Warsaw, Buenos Aires, Madrid and New York. She is also author of Light of Cultronia. Her new book The Weary Angel. will come in september 2022.
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
