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Horst Antes (1936)

 

Schermafbeelding 2021-05-04 om 15.04.17I never had many titles on Horst Antes until i recently bought a small collections from the heirs of gallery d’Eendt.

galerie d’Eendt has had many exhibitions with works by Horst Antes and published some great graphic works by the artist over a period of over 20 years. Personally i would say his works are not “My cup of tea”, but…..undoubtedly his work is original and so typically Seventies that it has become important and shows the way art was developing. On one side there is complete abstraction with MINIMALISM and on the other side there is dreamy almost abstract characters who populate paintings and present a world completely different from the real world. In the Netherland i consider Jan Snoeck to be part of this movement of artist and when you look at both these artists their works , you see why i think these are artistically related.

Horst Antes (born 28 October 1936 Heppenheim, Germany) is a German artist and sculptor.

After his Abitur, he studied from 1957 to 1959 under the important woodcutter HAP Grieshaber at the Akademie der Bildenden Künste (today known as the Staatliche Akademie der Bildenden Künste Karlsruhe) in Karlsruhe. In 1959, the artist’s work was honoured with two prizes, art prize of the city of Hanover and the Pankofer prize on the occasion of the German Youth Art prize.

In his early paintings, Antes sought a path somewhere between figurative painting and the L’Art Informel. One of his most important role models was Willem de Kooning. Around 1960 Antes discovered his ‘Kopffüßler’ (literal translation: Head-Footer), a form which preoccupied the artist in numerous variations and artistic techniques. By 1963 his ‘Kopffüßler’ was fully developed in its stylistic and contextual premises and became also compulsory for his sculptural work, which began the same year.[1] The artist was given several scholarships and awards in the 1960s, including the Villa-Romana-Prize in Florence in 1962 and the Villa Massimo scholarship in Rome in 1963. Three years later, aged only 29, Antes accepted a teaching post at the Akademie in Karlsruhe. This was followed by a post as a professor also in Karlsruhe which he held from 1967 to 1973, as well as a one-year guest-professorship at the Staatliche Hochschule für Bildende Künste in Berlin. The artist resumed teaching at the Akademie in Karlsruhe in 1984 and continued teaching there for another 16 years. The regional capital awarded him the Hans-Molfenter-prize in 1989.

Since 1990 Antes has been living and working in Karlsruhe, Florence and Berlin. His oeuvre includes not only paintings and graphic art, but also sculptures in public spaces. His works are exhibited throughout the world and are represented in all the most important German collections, et al. at the Kunsthall Hamburg, the Museum Ludwig in Cologne, the Nationalgalerie Berlin, and the Museum of Modern Art.

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Another visit to the Stedelijk Museum

Readers know and read  that i was not very enthousiastic about the presentations of the Stedelijk Museum during our last visits. Very little that was appealing and lacking all the quality the Stedelijk Museum is famous for.

Last week we visited the Stedelijk again and what a difference. This was an excellent presentation/exhibition with all the art the Stedelijk Museum is famous for and with some great additions. the Bruce Nauman exhibition itself was well worth visiting, but what pleased me the most was the way some of the highlights from the collection were put together on show in BASE  1 and BASE 2.

A true feast and the only part i thought was not there was some of the Minimal Art from the collection.

The first picture is the one on the Wim Crouwel publications the Stedelijk commissioned during the Sixties and Seventies. Recognized as top quality design and becominmg more and  more important as part of the collection. many of these publications are also available at http://www.ftn-books.com.

Rating this presentation….B+.

 

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Martin Gerwers (1963)

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I know the works by Martin Gerwers for some 10 years now. The first time i encountered them was at an exhibition at galerie de Rijk and since i have been following with great interest this German artist. His abstraction leans towards the de Stijl movement , but is so much more fragile and delicate. Thin lines and much “space” make his paintings more like minimal art paintings than DE STIJL. One thing they have in common. It is use of bright colors  for the compositions. Gerwers his works are now financially out of reach for me , but i still admire his works and hopefully one day i encounter a nice small painting at auction. If the price is right i do not hesitate and buy it for my personal collection.

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Martin Gerwers, emerged with monumental geometric abstract paintings. He has recently extended his dicipline with 3-dimensional painted objects. Made out of triangular forms from wood they take the shape of dynamic pyramids, which define the surrounding space. His work is in the tradition of Mondrian and the American colourfield painting. Gerwers’ paintings and objects evoke space through big contrasts in light and dark, thin lines and broad planes of color and subtle differences in tone.

Martin Gerwers is born in 1963 in Velen (DE). He lives and works in Düsseldorf. After the Kunstakademie Düsseldorf, where he studied with Jan Dibbets, he exhibited regularly at Konrad Fischer Galerie in Düsseldorf and Galerie Tschudi in Glarus in Switserland. Since 1999 he has been exhibiting at Slewe Gallery. His work has been collected by several private and public institutions such as the Stedelijk Museum Amsterdam.

gerwers

 

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galerie Neuendorf and Hans Neuendorf

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Galerie Neuendorf is one of those iconic galeries that was active in the Eighties and early Nineties selling the very best works by the very best artists.

It nowadays is a private fine art dealership and advisory service based in New York, London, and Berlin, offering expertise on modern and contemporary art and specializing in sourcing the highest quality artworks for clients.
Founded as a gallery by Hans Neuendorf in 1964; Neuendorf represented, and was instrumental in the development and present artistic legacy of renowned artists including Georg Baselitz, Lucio Fontana, David Hockney, Francis Picabia, Cy Twombly, and others.
Since closing the gallery in 1995, Neuendorf has continued to work with a select group of clients to build and manage their collections. With over 70 years combined experience in the art market, we offer our clients a direct, personal, and discreet option to buying and selling artworks, but this is all “old school”….he probably will be remembered as the founder of Artnet.

When Hans Neuendorf created his online art company in 1989, he had little inkling that providing transparent art-market data would transform what was then a boutique art business into, 30 years later, a global industry that regularly transacts in $100 million sales. But that is exactly what has happened.

neuendorf

www.ftn-books.com has some of the Neuendorf catalogues availabel. The best one is the 1992 book, which included the list of available works and their prices. It shows exactly what Neunedorf predicts for the future. Prices of great art will rise in the decades to come

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Museum DE PONT / Tilburg

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I think that museum DE PONT in Tilburg is one of the museums that impresses me most. In the almost 30 years of its existence it has build a solid reputation in organizing breathtaking and ground breaking exhibitions and in the meantime expanded their collection of contemporary art in a very personal way. The building, not the most architectural beautiful museum in the world, is fantastic to present the modern art and each time i visit de PONT it impresses me. The man responsibel for this great achievement is Hendrik Driessen.

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While i was searching for minimal art in the Netherlands i discovered that many of the contemporary minimal artists in the Netherland had their first museum presentation at the DE PONT. Besides the exhibitions, their publication program is well worth following. Beautiful designed catalogues and posters are published making this one of the most desirable and satisfying museum packages/ visits for me.

www.ftn-books.com has many of the legendary de PONT publications available.

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Cor van Dijk (1952)

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I recently acquired a drawing by Cor van Dijk from 1993. I am very happy with my purchase, since i consider Cor van Dijk as one of the true dutch minimal artists.

cor van dijk a

I have encountered many sculptures by van Dijk at gallery exhibitions and auctions, but never had the funds to buy  a larger work. This was a chance i had to take and bought the drawing.  A graphie filled in shape of two rectangles intertwined and very much a drawing which is typically van Dijk. The drawing is now available at www.ftn-books.com

To explain the attractions of van Dijk i found this text on his site. It gives a rather accurate description of the way Cor van Dijk constructs his sculptures, which is also applicable on his drawings

The steel sculptures of Cor van Dijk (Pernis, 1952) are characterised by clear lines and geometric shapes. From first stages of their design, the material used for these works – steel – and their realisation are inextricably linked. To create his work, the artist uses separate sheets of solid steel, which he joins together with extreme precision. Van Dijk bases the dimensions of his sculptures on the standard gauge of the sheet metal. As a result, the mill scale found on the rolled steel is left intact in the finished works.

Viewing Van Dijk’s sculptures, one’s eyes constantly move across their surface and one’s attention keeps shifting from areas of open space to sections that take up space. The seams between the different segments play a key role in the works, since they lend a sense of scale to the mass of steel and define its different volumes. The artist strives to show interior space – its layout, possible compartments, the spaces between the segments and the massive quality of the steel itself. The different dimensions all interact with one another. Ultimately, this is also what gives the sculptures their specific presence: the precise handling of volumes and the perfect connection of individual sections in space.
Each newly-realised concept is intended to bring even greater clarity to the context of the preceding work – while also pointing ahead, suggesting new concepts that are still waiting to be developed.

Viewed head-on, Van Dijk’s sculptures seem quite unambiguous. But when you observe them from a variety of angles, this clear-cut quality makes way for a new complexity that takes more time to fathom. The seams created by the careful positioning of the individual metal sheets form a two- and three-dimensional drawing – both across the sculpture’s surface and within it.

Over time, the artist’s explorations and realised projects have yielded a unique generative system in which each evolution, each addition and each realisation charts its own course, fulfils its objectives and ensures that the whole ‘makes sense’ – for the moment, at least.

A sculpture’s realisation is the final stage of a long process. The artist needs to wait until the entire design process has been rounded off and the concept is fully developed. The different dimensions all need to be determined with millimetre accuracy. In this method of working, any further interference during or after the sculpture’s production is out of the question. This puts considerable pressure on Van Dijk’s work process – which he sees as a good thing, incidentally.

Van Dijk’s most recent sculptures comprise a single segment. The location of the open space and its dimensions determine the scale of the work as a whole. The result is an object in which mass (matter) and open space interact more intensively than ever before. In technical terms, the steel used for the sculptures shows no traces of machining or processing. Thanks to their mass, the open space and the interaction of these two elements, these tranquil objects seem to speak directly to the viewer.

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the ZERO FOUNDATION

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Looking for more infor on ZERO/NUL i stumbled upon this nice site . Site is in German and English and one can open and enlarge some very nice ZERO publications. For some real authentic ZERO publications please find what is available at www.ftn-books.com, but for those only wanting a short “fix” this is perfect.

http://zerofoundation.de/en/

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Lei Molin (1927-1990)

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Lei Molin followed in his very own way “the road to abstraction”.

Making black and white landscapes in the early years of his career, painting portraits to make a living, he moved in the mid Sixties to Amsterdam where he made a connection with Pieter Defesche, Jef Diederen en Ger Latster, they were called the ” Amsterdamse Limburgers”, because they all moved from Limburg to Amsterdam. In Amsterdam he was influenced by Cobra and Minimalism, resulting in a style of his own losing the bright colors and presenting his works in a sober black an white. In the early Eighties color returned into his works and the us e of plastic foils made his paintings stand out from the ones of his colleagues.

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After Amsterdam he movend to Ijmuiden, where he became a member of the Ijmuider kring and got inspired by the harbors of Ijmuiden.

In 1986 he told the interrviewer for a nespaper that he considered his latest works to be the ones of his 40 year career. I have known i could make it, but now i finally i am confident enough to make it. It will not become better, also not worse…this is the result of a lifelong career.

Thr above titles are available at www.ftn-books.com

 

 

 

 

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Donald Judd and the Sikkens prijs ’93

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In 1993 Donald Judd was awarded the Sikkens Prijs for his radical approach to Modern Art. It was a well deserverd award for an artist who stood at the brink of Minimal Art and founded one of the most inspiring artists “colonies” in Marfa texas.

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Not much later Judd died in 1994 of Cancer, but his art remains and has proven to be (arguably) being the most important art made in the 20th century. The Stedelijk Museum and the Gemeentemuseum Den Haag both have some very important Judd’s in their collections and over time these works have not lost their appeal. I am personally convinced that in a few decades , the Minimal art by Judd is considered to be of the highest importance in the development of Modern Art/ http://www.ftn-books.com has the Judd publication published with the Sikkens Award ao. available .

judd sik a

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Milco Onrust (1961-2015)

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It took me some years to realize that the dutch gallery owner Milco Onrust was one of the driving forces in the gallery and art world. NOt only in the Netherlands his gallery became famous, but abroad his gallery became famous because of the independent choices his owner made during its existence.

Starting at a young age, during his art studies he already collected Modern art, he soon would become one of the most important young gallery owners in the Netherlands, presenting artists like LeWitt, Partenheimer, Gunn , Knobel and Swarte.

 

I did not visit his small gallery many times, but i remember it to be nearby Wim van Krimpen his gallery in Amsterdam.. What strikes me most now, after so many years follwing his gallery and buying his publications, is that the Onrust pubications are all from a small edition and in most cases look and feel like true artists books.  They are little gems among the other gallery publications. This i realized when i dove into my own art book collection and found some precious ones on Partenheimer which have some original drawings inside.

www.ftn-books.com has some of these ONRUST publications available