For half a century, Rodney Graham meticulously weaved together the strands of cultural and intellectual history through the mediums of photography, film, music, performance, and painting. With a keen eye for wordplay and a penchant for allusions to literature and philosophy – be it the works of Lewis Carroll, Sigmund Freud, or Kurt Cobain – Graham spun cyclical stories that were peppered with his sardonic sense of humor, a nod to his roots in Vancouver’s post-punk scene of the late 1970s. In his nine-minute long piece, Vexation Island (1997), the artist assumes the role of a 17th-century sailor, discovered unconscious under a coconut tree with a visible bruise on his head. After eight and a half minutes, he awakens and shakes the tree, causing a coconut to fall and render him unconscious once again, triggering the repetition of the sequence. Graham reappears as a cowboy in How I Became a Ramblin’ Man (1999) and as both a city dandy and a country bumpkin in City Self/Country Self (2001) – fictitious characters perpetually trapped in an unending loop of actions. Drawing from his previous series of photographs featuring inverted oak trees, Graham’s fascination with dreamlike states and the ramblings of the unconscious are evident. As he puts it, “Inversion has a logic: you do not have to dig deep into modern physics to understand that the scientific perspective insists that the world is not truly what it seems. The eye sees a tree upside down before the brain rights it, just like how it appears to the glass back of my large format field camera.”
www.ftn-books.com has several scarce Graham publications available. Among them the 1989 van Abbemuseum catalog designed by Arlette Brouwers.
Upon entering the living room, sipping coffee in the kitchen, and wandering through the studio, I am aware of what is to come. It all halts at the defiant table. I peruse books on Thierry De Cordier, Berlinde De Bruyckere, Arnulf Rainer, and immerse myself in the seventeenth-century Chinese landscape painter Wang Hui. I extend the moment, avoiding looking just yet. I feel reluctance to turn around and face the new canvases. I have seen a few before, in an earlier phase, almost two years ago. I have an inkling of what to expect.
It feels like entering a mortuary: You want to go inside, but you also know it will be confronting. So you delay as long as possible. Seeing is knowing. And the mind still says ‘no’. No, to the overly explicit wound that strikes at womanhood. No, to the pain and sadness that speaks through these paintings. I recall the irritation I felt last time at the physical embodiment of soft red, the hairy skin, blue-veined. But wasn’t it the Jan Hoet we both admired who suggested that doubt and resistance are the best guides when it comes to art? ii If I am to be honest, that is probably the main reason why I am back in the studio.
Hans himself calls the paintings Mental Landscapes. “Nothing mental,” I initially think, as once again I see mainly skin, blood red, soft pink, blue-purple veined. A pattern of ribs, and that confronting wound, which also explicitly represents a vagina. While we talk and gaze at the first canvas, I no longer only see skin and genitals in the red, gradually I also discern a massive curtain: a murky veil or dark celestial vault that tears apart. The whole thing drips with paint, floating above a tranquil landscape, a tiny world. But at the bottom of the canvas, in soft white and Prussian blue, light shines, there lies hope. www.ftn-books.com has the OCHTENDLICHT publication now for sale.
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.
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.
Lewis Baltz, a native of Newport Beach, California, pursued higher education at the San Francisco Art Institute and obtained an MFA from the esteemed Claremont Graduate School in 1971. A successful stint as a freelance photographer in California followed, during which he also imparted his expertise as a photography instructor at esteemed institutions such as the California Institute of the Arts, University of California (Riverside and Santa Cruz), Yale, École Nationale Supérieure des Beaux-Arts in Paris, and the Art Academy of Helsinki.
Baltz has been recognized for his contributions to the field of photography with prominent displays in major exhibitions, including the renowned New Topographics at George Eastman House in 1975 and Mirrors and Windows at the Museum of Modern Art in 1978. His accolades include grants from the National Endowment for the Arts in 1973 and 1977, as well as a prestigious Guggenheim Fellowship in 1977. Additionally, Baltz has undertaken commissioned projects for esteemed institutions such as the Corcoran Gallery of Art, producing The Nation’s Capital in Photographs, and the Nevada State Arts Commission, resulting in Near Reno.
Since the mid-1980s, Baltz has been based in Europe and frequently jet sets across the globe. His photography typically revolves around a central theme or geographical focus and is often published in book form, exemplified by works such as The New Industrial Parks Near Irvine, California (1975), Nevada (1978), and Park City (1981). Baltz’s oeuvre, in sync with other artists associated with the New Topographics movement, challenges the conventional landscape photography style of the nineteenth century, as epitomized by icons like Timothy O’Sullivan, Carleton Watkins, and William Henry Jackson. His perspective on the landscape traverses beyond its natural beauty, lending insight into the impact of contemporary culture and suburban development on the nation’s terrain. His books, Rule Without Exception (1991), Lewis Baltz: Politics of Bacteria, and Docile Bodies, Ronde de Nuit (1998), feature splendid color photography capturing Europe’s urban landscapes.
www.ftn-books.com has the Stedelijk Museum catalog for the Baltz exhibition now available.
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.
Georges Mathieu was born in Boulogne-sur-Mer, France, in 1921. An autodidactic artist and theorist, he embarked on his creative journey in 1942. He traversed the globe, creating masterpieces in Japan, the USA, Brazil, Argentina, and the Middle East, but predominantly lived and produced his opuses in the Parisian region of France, where he passed away in 2012.
Credited with spearheading the Lyrical Abstraction movement and the larger trend of Informalism in post-World War II Paris, Georges Mathieu pioneered a style of gestural abstraction that verged on performance art. A renowned provocateur, he dazzled audiences with his energetic approach, prioritizing speed, rejecting references, and entering a state of ecstasy while creating. Often working in front of cameras, his pieces were exhibited around the world, with his large-scale compositions achieved through the use of long brushes and direct application of paint from tubes onto the canvas. The immediacy and rapid execution of these techniques empowered him to freely express his vision. He brought a newfound liberty to the creative act and gave rise to a fresh style, a unique blend of esoteric symbols, calligraphy, and raw vigor. The titles of his pieces, infused with historical, musical, and geographical allusions, add a sophisticated yet unconventional poetic quality.
Mathieu’s work has been the subject of numerous retrospectives and can be found in over eighty museums and permanent public collections, including the Art Institute of Chicago; Centre Pompidou, Paris; the Hirshhorn Museum and Sculpture Garden, Washington, DC; Kunstmuseum Basel; Kunsthaus Zürich; the Museum of Contemporary Art, Los Angeles; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the Musée National d’Art Moderne, Paris; the Solomon R. Guggenheim Museum, New York; and the Tate, London.
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.
A distinguished mind in the realm of artistry, Lyonel Charles Feininger (July 17, 1871 – January 13, 1956) stands as an exemplary figure of Expressionism. In addition to his prowess as a painter, he also flourished as a caricaturist and comic strip artist. Although born and raised in the bustling metropolis of New York City, Feininger’s passion for perfecting his craft led him to Germany at the tender age of 16. There, he delved into the nuances of art and honed his skills.
Initially embarking on his artistic journey as a cartoonist in 1894, Feininger quickly garnered recognition and acclaim in this field. For two decades, he majestically juggled the roles of a commercial caricaturist, producing stunning works for magazines and newspapers in both the USA and Germany. However, at the age of 36, he shifted his focus to fine artistry.
Aside from his renowned paintings, Feininger also left behind a significant body of photographic works, created between 1928 and the mid 1950s. However, these remarkable pieces of art were kept within his circle of friends. As a man of many talents, he was also an adept pianist and composer, leaving behind several compositions and fugues for the organ.
Born to German-American parents, renowned violinist and composer Karl Feininger and talented singer Elizabeth Feininger, Lyonel Feininger inherited a rich artistic background. However, it was not until 1887, at the age of 16, when he traveled to Germany to broaden his artistic horizons. In Berlin, he studied under the tutelage of Ernst Hancke at the prestigious Königliche Akademie. He continued his studies in art schools in Berlin with Carl Schlabitz and in Paris with renowned sculptor, Filippo Colarossi.
Feininger’s exceptional talent as a caricaturist was recognized and showcased at various exhibitions, including the prestigious Berlin Secession, from 1901 to 1903. His drawings were lauded and admired by fellow artists and art enthusiasts alike.
Moreover, Feininger’s personal life was also intriguing. In 1900, he met the talented Clara Fürst, daughter of painter Gustav Fürst. The two tied the knot in 1901 and welcomed two daughters into their lives. However, in 1905, Feininger’s life took a turn when he met Julia Berg. He divorced Fürst and married Berg in 1908, and they were blessed with three sons.
In conclusion, Lyonel Feininger’s legacy as a versatile and gifted artist continues to captivate the masses. From his unforgettable paintings to his captivating caricatures, he remains a source of inspiration for artists across the globe.
The journey of Feininger’s career as a cartoonist commenced in 1894, with his contributions to numerous renowned magazines in Germany, France, and America. In February 1906, as a quarter of Chicago’s population was of German descent, James Keeley, editor of The Chicago Tribune, traveled to Germany in search of the most popular humor artists. Feininger caught his eye and was recruited to illustrate two comic strips, “The Kin-der-Kids” and “Wee Willie Winkie’s World,” for the publication. These strips were praised for their whimsical humor and innovative graphics, setting Feininger apart. He also dedicated 20 years to being a commercial caricaturist, creating works for various newspapers and magazines in both the United States and Germany. Years later, Art Spiegelman acknowledged in The New York Times Book Review that Feininger’s comics possessed a breathtaking formal elegance never before seen in the medium.
At the age of 36, Feininger embarked on a career as a fine artist. He joined the Berliner Sezession in 1909 and was associated with several German expressionist groups, such as Die Brücke, the Novembergruppe, Gruppe 1919, the Blaue Reiter circle, and Die Blaue Vier (The Blue Four). In 1917, Feininger held his first solo exhibition at the Sturm Gallery in Berlin. When Walter Gropius founded the Bauhaus in Germany in 1919, Feininger was among his first faculty appointments and was appointed the master artist in charge of the printmaking workshop.
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
