In addition to sculptures and installations, Thomas Schütte’s oeuvre also encompasses watercolors, models, paintings, and etchings. Schütte has been part of the new generation of German sculptors since the 1980s, distancing himself from minimal art and conceptual art. Along with artists such as Reinhardt Mucha, Hubert Kiecol, and Harald Klingelhöller, he developed a postmodern practice that combines references to art and architectural history with a strong dose of reevaluation of the modernist ideal in sculpture.
Schütte’s interest in art sparked when he visited Documenta V at the age of 18. He studied with Gerhard Richter in Düsseldorf, where he created his first paintings based on photos. Later on, he adopted a “decorative painting style in the spirit of Niele Toroni and Daniel Buren.” In this context, we can see Schütte’s “Garlands” and “Collections” from the late 1970s and early 1980s as brightly colored, abstract motifs acting as minimal pseudo decorations on the wall. The works reflect a strong sense of eclecticism and a non-linear way of thinking and acting, seeds of his later work.
Starting in the early 1980s, Schütte explores a more functional approach in his “Architectural Models.” The models of fictional architectural constructions criticize the “intellectual poverty of much postmodern architecture.” Since the mid-1980s, Schütte has often created watercolors. Although the human figure is often central in them, they vary greatly in style and often have an ironic undertone. Schütte sees them as sketches for his other projects, yet he still stamps and dates them, giving them the status of an archive or collection.
Schütte’s fascination with the human figure is evident in his sculptures, which he utilizes to delve into the depths of human psychology and behavioral patterns. In the late 1980s, his sculptural work evolved to a larger, grander scale. From then on, Schütte’s human figures became so distorted that they strayed far from the traditional concept of figurative sculpture. They depicted various stages of emotional and/or physical depression.
In the 1990s, Schütte continued his exploration of socio-psychological behaviors in humans, expanding his sculptural work in terms of materials, techniques, and forms. Overall, much of Schütte’s work reflects the human psychology of his time – from the nihilistic 1980s to the highly individualized 1990s and beyond – always with a hint of irony or even absurdity. www.ftn-books.com has some of the most important Schutte publications available.
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.
François Morellet (1926 – 2016), a prolific self-taught artist who pursued painting, sculpting, and installation throughout a successful career spanning over six decades. His approach to geometric abstraction was radical and innovative, continuously exploring the creative potential of kinetic systems and challenging the viewer’s perception and understanding of the physical picture plane. Through a commitment to basic geometric forms and a methodology of rigorous objectivity and personal detachment, Morellet achieved a unique artistic voice.
In his work, Morellet incorporated a range of materials such as steel, neon tubes, iron, adhesive tape, wire mesh, and wood, effectively breaking down traditional hierarchies and embracing elements of randomness and chance. This playfulness and wit are evident not only in his artwork itself, but also in the titles he gave to each piece, often utilizing tongue-in-cheek puns, parody, and wordplay.
The prolific artist’s dedication to his craft and his transformative use of materials have left a lasting impression on the world of contemporary art. His legacy continues to inspire and captivate audiences, reminding us of the importance of pushing boundaries and constantly evolving.
Born and raised in the charming town of Cholet, France, François Morellet devoted himself entirely to his literary pursuits before returning to take reins of his family’s toy factory. This provided him with financial stability, as well as the opportunity to familiarize himself with various fabrication techniques, ultimately shaping his artistic practice. Initially, Morellet delved into figurative painting in the 1940s, but it was his visit to Brazil in 1950 that proved to be a pivotal moment, exposing him to Concrete art and the captivating works of Max Bill. Other influential figures for the artist include Jean Arp and Theo van Doesburg, along with the precise geometric patterns and ethereal beauty of Islamic decorative art, which he encountered while exploring the Alhambra in Spain in 1952. As a result, Morellet’s works evolved into simple systems and rules, effectively removing his own subjectivity and challenging traditional notions of composition. In his own words, his artistic journey became “an adventure, as whimsical as it is systematic.” In the late 1950s, Morellet was introduced to the “Duo-collages” of Jean Arp and Sophie Taeuber-Arp through his friend, Ellsworth Kelly. This inspired him to incorporate chance as a central element in his works, often creating pieces based on random numbers found in his local phone directory or using the infinite sequence of decimals of pi.
One of the founding members of the experimental artist collective, Groupe de Recherche d’Art Visuel (GRAV), Morellet delved into the possibilities of Kinetic art and the viewer’s active engagement, effectively demystifying the romantic notion of the individual genius artist. Before the group’s formation, Morellet, Piero Manzoni, and several other collaborators were invited to showcase their works at Manzoni’s Galleria Azimuth in Milan. The exhibition was an intriguing one, with the artists’ names withheld at the instigation of none other than François Morellet himself.
Morellet’s oeuvre has been featured in several noteworthy international group exhibitions including Documenta in Kassel, Germany (1964 [in collaboration with GRAV], 1968, and 1977), and the Venice Biennale (1970 and 1990). In 1971, Stedelijk Van Abbemuseum in Eindhoven, the Netherlands organized his debut solo museum exhibition, which subsequently toured across Europe. Noteworthy about the exhibition was the varied presentation of Morellet’s pieces in each venue, creatively experimenting with different orientations such as horizontal, vertical, and even upside down. Some of the major retrospectives of Morellet’s work have been hosted by esteemed institutions such as Nationalgalerie in Berlin (1977), the Centre Pompidou (1986 and 2011), and the Galerie nationale du Jeu de Paume (2000-2001) in Paris. In an unprecedented move, Morellet became only the second living artist to exhibit at the Louvre Museum in 2010, showcasing a site-specific permanent installation titled ‘L’esprit d’escalier’. His work is prominently featured in notable public collections including Centre Pompidou, Dia Art Foundation, Los Angeles Museum of Art, The Museum of Modern Art, New York, the Seoul Museum of Art, Tate Britain, the Tel Aviv Museum, the Kunsthaus Zurich, and the Nationalgalerie Berlin.
Morellet first garnered attention from the American audience when his work was showcased at the iconic 1965 exhibition ‘The Responsive Eye’ at the Museum of Modern Art in New York. A comprehensive retrospective of his work was later held in North America in 1984-85, traveling to acclaimed institutions such as the Albright-Knox Art Gallery in Buffalo, Musée d’art contemporain in Montreal, Brooklyn Museum, and Center for the Fine Arts in Miami. In 2017, Dia Art Foundation presented the long-awaited major survey of Morellet’s work in the United States, marking over three decades since his last retrospective in the country.
www.ftn-books.com has some of the greatest Morellet titles available.
Michael Parkes initially painted in the Abstract Expressionist style, as taught by his professors, but a period of introspection led him to switch to a meticulous representation style. This allowed him to fully express his inner world of images.
Michael Parkes is a renowned painter, sculptor, and lithographer known for his magical realism works. Despite the challenging nature of the art world, he has achieved success and his pieces are sought after by celebrities, private collectors, and galleries worldwide. He has been exhibiting his works since 1977, when he had his first one-man show in Amsterdam. His exhibitions have taken place at prestigious events such as the Basel in Switzerland, Art Chicago, and Art fair NY, among others.
While he studied graphic art and painting at the University of Kansas, Parkes’ unique style developed during a period of isolation when he temporarily stopped creating art and traveled to India in search of spiritual enlightenment. His style is rooted in realism but incorporates magical elements, earning him the title of a Magic Realism artist. Drawing from both Eastern and Western esoteric doctrines, Parkes’ imagery is a fusion of various wisdoms such as cabalistic and tantric teachings, translated through his own imagination. Within his work, strange creatures coexist with winged women, the eternal battle between good and evil rages on (though it is often unclear which side is which), and entire worlds are created and destroyed in an ethereal realm, closer to the desires of the heart.
www.ftn-books.com has several Michael Parkes collectibles now available.
It has been almost 15 years ago that i had this extremely scarce Morellet item in my inventory. I remember at that time that it was sold almost instantly for euro 69,50. Since i never encountered it again, but now, finally after 15 years, i encountered by chance another copy of this inviation .It has become even more special, since i tried to track another copy, but worldwide i could not find another copy which is now for sale.
An essential characteristic of concrete poetry is that it is created using letters (words/phrases) in conjunction with the typographical space surrounding them. In contrast, visual poetry is a fusion of typography and graphics, with language elements supplemented by “externalinguistic” elements such as photos, drawings, objects, and actions. This shift towards materials used by poets took place earlier in the Netherlands – starting in 1968 with Hans Clavin – compared to many other countries.
Pier van Dijk and Robert Joseph (excerpt from “Actions 1979”) After 1975, the activities of most visual poets began to decline. An exception to this were the artist Robert Joseph and poet/artist Pier van Dijk, who, being more cautious in their poetic development, were equally active until the early 1980s. For them, poetry evolved into “total poetry”, a fusion of auditory and visual poetry.
Van Dijk has been writing poetry since 1961, painting since 1963, and creating and performing visual poems since 1971. He has referred to his work as “total art” since 1979. Joseph has been creating concrete poetry since 1966 and visual poetry since 1967. In 1971, the collection “Zie-po-eie (26 visual poems 1965-1970)” was released by De Tafelronde Antwerp (print run: 250). This collection consists of 23 concrete poems, two of which feature objects (first published in 1967 and 1969), and a photographic documentation of a “action poem”. In 1972, the publication “The visual triangle” was released, exploring the relationship between words, reality, and images in his poems. Joseph has referred to his work as total poetry since 1976: his aim is to encapsulate the “totality” of life.
www.ftn-books.com has npw the scarce Kunmstcentrum Badhuis catalog from 1980 available.
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
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
I found this picture at the Herb Lubalin center who has this in its collection. A very nice and typical Willem Sandberg card to wish you a Merry Christmas in 1958.
an old wish, but a new one from me….. a Merry Christmas 2021
The first time i encountered the name of Vroegindeweij was at the time i started to take an interest in the students who visited the”Ateliers 63″ academy. Leo Vroegindewij was a student at Ateliers 63 in the years 1976-1978 and finshed his studies around the time i started my publishing years at the Gemeentemuseum Den Haag. It is also the years i took an interest in the Art & Project gallery which was one of the f
irst to show the works by Leo Vroegindeweij. I like his sculkptures however they are not very suited for the living room and really need space and only galleries and museum s can presdent them in a proper way and for me that is the reason i never considered buying a work by Vroegindeweij. They need “room to move” and it is hard to realize such space in a family home. Still, his works must be admired and whenever a small one comes to the market i promissed myself to reconsider buying one.
This time i focus on the Frank Stella exhibition from 1970, which was at that time a first for the Stedelijk Museum. A great poster and catalogue designed by Wim Crouwel completed the exhibition, The cover of the catalogue was embossed and this made it very special.
I even had at one time the official invitation ( now sold). A great set and a future collectable classic. available at www.ftn-books.com
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
