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Fred Sandback (1943-2003)

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A very special Minimal artist definitely is Fred Sandback.

Fred Sandback would stretch lengths of colored yarn taut in a space to make people experience it differently, uniquely, unexpectedly. His ingeniously simple sculptures had no weight or mass, no inside or out.

He described is work eloquently in his booklet A Children’s Guide to Seeing made to accompany his 1989 exhibition of yarn sculptures at the Houston Contemporary Arts Museum. His words for kids provide illumination for adults:
We all need a place for play, whether it’s jump rope, baseball, or making a sculpture. I’m lucky enough to have the whole Contemporary Arts Museum in which to build my sculptures that are made out of knitting yarn.

I need a big space like this because I mean my sculptures to take space and make it into a place—a place that people will move around in and be in.

Knitting yarn is great for making the proportions, intervals, and shapes that build the places I want to see and to be in. It’s like a box of colored pencils, only I can use it to make a three-dimensional sculpture instead of making a drawing on paper.

My knitting-yarn sculpture is a somewhat distant cousin to some other string games. Maybe the one that uses the most space is kite flying. But the one that is the oldest, and the most universal, is cat’s cradle. Indians, Eskimos, Bushmen, and many other cultures around the world have had games like cat’s cradle since before anyone can remember.

Often cat’s cradle is about making a little place—just for yourself, or to share with someone. If you don’t know any of the moves, you can probably learn some from a friend, a relative, or from your mom or dad, if they remember them.

If you ask the attendant here in the Museum now, he or she will give you some yarn to use while you are here and to take home. Your fingers might do some thinking while you wander around and look at my sculptures.

And here are a few cat’s cradle ideas.

Cat’s cradle is nice because you can put it in your pocket when you’re busy with something else, and take it out again when you’re not. Although, as you can see, it’s not so hard to build big things like my sculpture. All it takes is a ball of string. If you were feeling a little adventurous, you could even wrap up your whole house.

http://www.ftn-books is fortunate to have some nice Sandback items available

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Enzo Maiolino (1926-2016)

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Not much information to be found on this artist. Still he is an established artist influenced by Hard Edge painting but with a much softer , subdued choice of colors he makes compositions that are typical for the Italian Sixties. These paintings are great and timeless and that is the reason why the Josef Albers Museum recognized the qualities of this lesser known artist. His works were presented in combination with the “square” paintinsg by Albers. The result /…… a feast in abstract ( minimal) art.

The Maiolino poster is availabel at www.ftn-books.com

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Centraal Museum Utrecht , 1979

 

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It is not the book itself, condition is fair+, but the realisation that all artists included in the book have become highly collectable artist, who’s works you can only acquire at steep prices nowadays. It shows the importance of collecting at an early stage by the museums. It is not difficult to pay millions for a work of art, but when you can see the quality at an early stage you can build a great collection…well done Centraal Museum.

the book is now available at www.ftn-books.com

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Who is Who ….in Modern Art, version 1995

For those who want a crash course in Modern Art it is sufficient to study the english/ Japanese catalogue RIPPLE ACROSS THE WATER . A  publication  with over 350 pages, published on the occasion of the exhibition with the same name  in 1995. Some names: Francis Bacon, Jan Fabre, Marlene Dumas, de Cordier, Nauman, Pistoletto etc……..

Not only very worth collecting, but also published as an artist book. This makes the publication an absolute ” must have ” for those that take an interest in Modern Art of the last 50 years.

 

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Remo Bianco (1922-1988)

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This blog is devoted to the “golden” paintings by Remo Bianco. The studio Delise catalogue , which contains many examples of these golden paintings, is now available at http://www.ftn-books.com.  The reason is that the paintings remind my of the golden minimal painting by Tomas Rajlich. Different but somehow they have a same approach to the canvas. They devide the canvas into equal parts  and the golden layer is vissible in each adn every square.

The Tableaux Dorés series was executed by Bianco from 1957 as a development from his Collages. They represent one the most well-known cycles of the artist, and also the one that lasted the longest amount of time.

Bianco observed: “In 1957, in Milan, I applied some small sheets of gold leaf to a collage surface, after having painted it as a monochrome. The result was a two colour artwork, like a herald. This experience was probably the most ongoing of my researches. I continued this research for years, sometimes alongside other new Collages and other research”.

The two-colour backgrounds, oil or enamel paint, to which the gold leaf is subsequently applied, often have a white part alongside a red, blue or green surface, as well as other coloured surfaces. There are also some Tableaux Dorés with a monochromatic background or made with straw or fabric. These works stand out because of the light that radiates from the golden “tessera” (squares) the surfaces of which, irregular and frequently appearing veiled by shadows, create a counterpoint to the preciousness and fragility of the material. As expressions of a “contemplative maturity”, the Tableaux Dorés can be interpreted as “a sort of curtain that the artist brings down so that the viewer’s eyes can investigate the surface and beyond it but, at the same time, they shun theatricalism, instead proposing absolute silence” (P. Biscottini 2005).

Tnere are several Bianco publications available at www.ftn-books.com

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Reindert Wepko van de Wint Den Helder, (1942-2006)

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Without knowing, many people have encountered work by R.W. van de Wint. The large vertical paintings in the dutch National Assembly are paintings by R.W. van de Wint.

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RWVDW will become increasingly imortant for dutch art because  he bought a piece of land in the year of his death , meaning to turn this into a outside museum in which he and his friend artist could develop their works in an outside situation. Much like Ian Hamilton Finlay intended to do in the same your 2006. he also died in the year he started his developments, but there is a difference too. The Dutch municipal government of Den Helder embrased the plans and is now building a nice compact museum beside the sculpture garden.  The building is delayed because of the pandemic and the park/garden is not open yet, but this will be our first museum visit after the museums reopen. A great initiative and i can only recommend the park because personally i consider sculpture gardens among the most accessible and high valued cultural desitinations.

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On the first initiative, Arlette Brouwes designed this “bidbook” for the Nolen project in 1986. The idea is now 35 years in development and soon, the project will have been completed. Meaning a start for a collection of which RWVDW must have dreamed a very longtime.

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“de Pot” is the new DEPOT of the Boymans van Beuningen Museum

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Another few weeks and the new depot for the Boymans van Beuningen collection will be open for the public. Now are the weeks of moving and placing the many objects from the collection of the Boymans van Beuningen museum and an openingof the new building is foreseen on the 25th of September next. This building promisses to be something very special and i predict it will have the same appeal as the Guggernheim Museum in Bilbao. Inside , outside and the direct surroundings are all functional for visitors and citizens of Rotterdam alike. It will be an iconic building for Rotterrdam and the Netherlands and i can not wait to visist the building and see its collections by myself. To follow the progress of the opening of the building follow this site; https://www.boijmans.nl/depot

and for all historical publications visit my site at http://www.ftn-books.com

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Erwin Heerich (1922-2004)

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The following text comes from Wikipedia. I did not know the artist but i was impressed with a publication that was published in the Sixties with the van Abbemuseum exhibition.  This publication is now availabel at www.ftn-books.com

From 1945 to 1950 Heerich studied fine arts at the Kunstakademie Düsseldorf under Ewald Mataré. From 1950 to 1954, he belonged, together with Joseph Beuys, to the master class of his professor. At that time, he chiefly produced sculptures representing animals and drawings of plants. In 1954, he left the Düsseldorf academy and worked as an artist and art teacher. Since 1959, he used cardboard as his artistic material. He presented 10 of these “Kartonplastiken” at the documenta IV (1968) in Kassel.

Heerich emphasized that for him, “cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent.” Furthermore, the artist was not primarily “concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed.”

From 1969 to 1988 he was a professor at the Kunstakademie Düsseldorf. In 1974 he became also a member of the Academy of Arts, Berlin.

From 1982 to 1994 he created eleven exhibition pavilions for the Museum Insel Hombroich, which were called “chapels in the landscape”. His elemental sculptures became the design base for these gallery pavilions.

In 1978 Heerich received the Will Grohmann Prize in Berlin. In 1987 he received the Max Beckmann Prize in Frankfurt am Main and in 1995 the Anton Stankowski Prize in Stuttgart.

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Bram Bogart for “de MORIAAN”

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The year 1969. The exhibition ” Bram Bogart”…location de Moriaan in Den Bosch.

This exhibition was held far before Bogart rose to world fame with his thick and impressive colorful paintings. The ineteresting thing is this poster, an original silkscreen probably printed by Bogart himself to save on exhibition costs, shows the direction his work was going in to.

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A colorfield in the middle and along the edge another bright color which enhances the composition. I love this poster and since it is an original silkscreen i must recommend this to any serious Bogart collector. The print is now available at www.ftn-books.com

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Vormen van de Kleur ( 1966 )

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As promissed, some of the combinations that were published for the Stedelijk Museum exhibitions. I can show these because i recently acquired a great set of Crouwel designed posters. These combined with the other publications of the Stedelijk Museum that i have for sale at http://www.ftn-books.com makes some great visual presentations in my blogs. Today the VORMEN VAN DE KLEUR. The first large scale presentation of Colorfield and minimal art in the Netherlands. The catlogue was published in a Crouwel designed portfolio including 4 silkscreen prints of which one by Ellsworth Kelley and the poster has the same great color scheme. Minimal and colorfield combined into a great poster by Wim Crouwel. Both are now available at www.ftn-books.com.

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