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Ah Xian (1960)

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I am not the greatest fan of Chinese art, althought i have learned to appreciate some of the artists and their works. One of the last to admire was the artist Ah Xian whose works were exhibited in the “stijl zalen” of the Gemeentemuseum Den Haag. They blended like they were meant to have been made for this location. Specially the “GOUDLEER” and Chinese rooms were a feast to the eye. Now i have acquired the exhibition catalogue for this exhibition. It is the one that sold out almost instantly. available at www.ftn-books.com

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Chinese artist Ah Xian lives and works in Sydney where for nearly two decades he has explored aspects of the human form using ancient Chinese craft methods including porcelain, lacquer, jase, bronze, and even concrete. The artist often uses busts of his own family members including his wife, brother, and father onto which he imprints traditional designs with a vivid cobalt blue glaze. via Colossal.

ah xian

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New Business Card FTN books & Art

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Some recent changes made it necessary to translate these changes into a new business card. The most important one being two new email addresses. One personal one and the other for the FTN books & Art contacts. So here is all the new business information to contact me and keep track of my activities, the daily blog and additions to my inventory.

Wilfried van den Elshout / FTN books

Veursestraatweg 106c

2265CG Leidschendam,  the Netherlands

www.ftn-books.com

www.ftn-blog.com

new email : wilfriedvandenelshout@gmail.com

new email : ftnbooksandart@gmail.com

 

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2x Borek Sipek and 2x Erwin Olaf

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Why another blog on Erwin Olaf? This one is on the occasion of the addition of the book BOREK SIPEK / Glas Design Architectuur in which a series of photographs by Erwin Olaf with works by Sipek is published . Almost the exact series was used before. The series was made on location with gypsies holding glas and design by Sipek and photographed by Erwin Olaf for the Stedelijk Museum exhibition and publication which was designed by Irma Boom ( Book on the left/private collection). The addition to my inventory is the book published by the Drents Museum, which contains 8 color photographs by Erwin Olaf together with the Anton Corbijn cover. This makes the book a true collectors item since these photo’s are among the best Olaf ever made.

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When you study both series ( Stedelijk Museum and Drents museum), at first you think the photographs are the same , but study them closely and you will notice some subtil differences. I conclude that Erwin Olaf must have made shortly after each other two series. One in Black and white, the other in color.

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Using 2 cameras this must have been technically possible. Just look at the position of the hand of the gypsy boy. The book published for the Drents Museum is now for sale at www.ftn-books.com

 

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Babs Haenen (1948)

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If you are looking for the most complicated ceramic art , then Babs Haenen her objects will be in the top three.

The first time i encountered work by Babs Haenen was when the Haags Gemeentemuseum has bought two vases for its collection. What struck me was that these vases had very delicate colors and were looking not like the ordinary ceramics from the collection. They looked like sculptured vases . Her method of building a vase is simple. Porcelain clay is coloured with pigments and afterwards rolled out into thin sheets. The choice of porcelain clay is dictated by the wish to be able to produce bright colours. The basis for a piece at work is made by cutting up the different coloured sheets and joining them together again in various patterns.
Round a plaster core is placed a thin piece of textile, which serves to prevent the clay from sticking to the core. The core is then inverted and the sheets of clay are draped around the textile.This is done from the bottom, so that at first the pot is shaped upside down.

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When the piece has reached a given height, it is removed from the core. a short drying period and then built up further the right way up. At that point it has often not yet reached half its eventual height. Hence the form at the plaster care only determines the final form of the pot to a very minor extent.
Between the additions at new sheets of clay the piece is dried with a hairdryer, so that the form soon acquires a degree of certainty. In its further built-up a great freedom prevails in respect of designing by distorting and modelling.
After being thoroughly dried, the pieces are given a biscuit firing, then glazed and given repeated reduction firings in a gas kiln at a temperature of 1260 C.

The above text comes from the book which is now available at www.ftn-books.com

 

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Albert Van Der Weide ( 1949 )

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A good way to start the New Year.

ALLE MACHT AAN DE KUNST

A happy and healthy 2020

 The art item ” ALLE MACHT AAN DE KUNST ” ( all power to art ) is available at http://www.ftn-books.com

weide macht

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Roni Horn (1955)

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An artist from my generation is Roni Horn and since the days i worked at the Gemeentemuseum i came across her works. This is not the easiest art on the planet, but it is fascinating and some wonderful books have been published with her works. Some of these are available at www.ftn-books.com. Here is a text i found recently in which is explained some of the qualities of her works.

Since the mid-1990s, Horn has been producing cast-glass sculptures. For these works, colored molten glass assumes the shape and qualities of a mold as it gradually anneals over three to four months. The sides and bottom of the resulting sculpture are left with the rough translucent impression of the mold in which it was cast. By stark contrast, the top surface is fire-polished and slightly bows like liquid under tension. The seductively glossy surface invites the viewer to gaze into the optically pristine interior of the sculpture, as if looking down on a body of water through an aqueous oculus. Exposed to the reflections from the sun or to the shadows of an overcast day, Horn’s glass sculpture relies upon natural elements like the weather to manifest her binary experimentations in color, weight and lightness, solidity and fluidity. The endless subtle shifts in the work’s appearance place it in an eternal state of mutability, as it refuses a fixed visual identity. Begetting solidity and singularity, the changing appearance of her sculptures is where one discovers meaning and connects her work to the concept of identity.For Horn, drawing is a primary activity that underpins her wider practice. Her intricate works on paper examine recurring themes of interpretation, mirroring and textual play, which coalesce to explore the materiality of color and the sculptural potential of drawing. Horn’s preoccupation with language also permeates these works; her scattered words read as a stream of consciousness spiralling across the paper. In her ‘Hack Wit’ series, Horn reconfigures idiomatic turns of phrase and proverbs to engender nonsensical, jumbled expressions. The themes of pairing and mirroring emerge as she intertwines not only the phrases themselves but also the paper they are inscribed on, so that her process reflects the content of the drawings. Words are her images and she paints them expressionistically, which – combined with her method – causes letters to appear indeterminate, as if they are being viewed underwater.

Notions of identity and mutability are also explored within Horn’s photography, which tends to consist of multiple pieces and installed as a surround which unfolds within the gallery space. Examples include her series ‘The Selected Gifts, (1974 – 2015),’ photographed with a deceptively affectless approach that belies sentimental value. Here, Horn’s collected treasures float against pristine white backdrops in the artist’s signature serial style, telling a story of the self as mediated through both objects and others – what the artist calls ‘a vicarious self-portrait.’ This series, alongside her other photographic projects, build upon her explorations into the effects of multiplicity on perception and memory, and the implications of repetition and doubling, which remain central to her work.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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A classic Christmas Card by Bill Hurtz, ca. 1940

This year a classic Christmas Card for all blog readers. It is a card by one of Walt Disney’s 1940 studio employees…Bill Hurtz. he made a true Disney “classic” with this card.

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MERRY CHRISTMAS,

wilfried

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Black Friday at FTN books

Not just a 3 days discount but a total of 11 days, a one period discount of 10% on all your FTN books purchases. Valid from the early hours  of Friday the 22nd of November until midnight on the 1st of December 2019. Use the special Black Friday 10% discount code:

                                                               B2019F

 

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Joost Swarte and Vienna Moderne

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Today was book market day and i went to the stalls at the local book market. I am always looking for the thin little books and this is one of the titles i found today. I went through a stack of books and there this book was. At first I thought it was a JOOST SWARTE  cover, but studying it more closely i noticed that this could not have been done by Swarte , since the book was published in 1979 and the drawing done by Rudolf Tropsch in 1901.

iI always have admired Joost Swarte for the way he set up his drawings and how he has done his research, but the drawings by Tropsch show that some 80 years earlier other artists had the same approach to their subjects. The book on Vienna Moderne is now available at http://www.ftn-books.com

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Anish Kapoor (1954)

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It was about 3 months ago that we visited DE PONT in Tilburg. Our friends from the US wanted to visit the Bauhaus Textile exhibition and Linda and I decided to make the visit to DE PONT. An important museum and it struck us both that their collection is of the greatest quality. This is quite an accomplishment for such a small museum. So the Pont is worth visiting and what strikes you immediately at the entrance is a bend mirror like sculpture that reflects the sky. It is majestic in its  appearance and of course the reflection is alway different so the sculpture present itself in a different way constantly.

A visit to remember since this is an excellent museum with ao. this Anish Kapoor, who is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, Kapoor manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor’s geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years – kinetic and self-generating – ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world – Indian, Egyptian, Greek and Roman – and with modern times. www.ftn-books.com has some nice Kapoor titles available