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Hilla Rebay (1890-1967)

Hilla (von) Rebay

THis blog is on Hilla Rebay, born in Germany but living part of her life in the US. 

The inmportance of this artist is growing by the year and since i have acquired the extremely scarce original 1948 New York catalogue in which she explains what makes her paint in the way she does. The best i can do now is quote the German text which i found on Rebay. Catalogue available at www.ftn-books.com

1948 schreibt Hilla von Rebay im Katalog zur Ausstellung Gegenstandslose Malerei in Amerika in der Städtischen Kunsthalle Mannheim und zahlreichen anderen Städten in Deutschland Folgendes:

„Gegenstandslose Malerei bildet keines der uns auf dieser Welt geläufigen Dinge oder Lebewesen ab. Sie will nichts anderes sein als ein schönes, rhythmisch gegliedertes Gebilde aus Farben und Formen, das durch seine Schönheit allein erfreuen soll. Die Proportionen der Leinwand oder des Blattes selbst bestimmen diese Gliederung, die wie ein musikalisches Kunstwerk kontraproduktiven Gesetzen gehorcht. Das Grundmotiv eines Bildes gibt den Ausschlag für seinen Aufbau, der dann dem Gesetz eines eigenen Rhythmus folgt. Ein solcher Kunst noch ungewohnter Betrachter wird diese Gesetzlichkeit nicht von vornherein erkennen; erst nach längerem Umgang mit diesem Werk wird er im Unterbewussten die Wirkung seiner Schönheit und Vollendung an sich erfahren und seine im Geistigen begründete lebendige Gesetzlichkeit zu verstehen beginnen.
Die gegenstandslose Malerei spricht zu denen, die für reine Schönheit empfänglich sind. Selbst wenn Formen wie Kreis, Viereck oder Dreieck Verwendung finden, Formen, die man in solchen Zusammenhang fälschlich als geometrische bezeichnet, so sind sie hier doch rein künstlerischer Natur. An und für sich betrachtet bestand die reine Form ja schon lange, bevor man etwas von Geometrie wusste, und Geometrie von sich aus war niemals imstande, diese Formen in Kunst zu verwandeln: das ist allein Aufgabe des Künstlers. …

Sicherlich ist es leicht, aus Farben und Formen ein Ornament oder einfaches Muster zu entwerfen; aber wie sich in der Musik eine Sonate durch Melodie, Rhythmus und Kontrapunkt vom einfachen Ton unterscheidet, den jeder anzuschlagen vermag, so ist es auch in der gegenstandslosen Malerei. Nur dass bei ihr, im Gegensatz zur Musik, das Auge als aufnehmendes Organ angesprochen wird. Mag der Betrachter zunächst einfach sein Gefallen am Spiel der Formen empfinden, so wird er allmählich doch dahin gelangen, auch die läuternden und entspannenden Kräfte eines Bildes zu erfahren, dessen Schönheit im Geistigen, nicht im Sinnlichen beruht. …

Vor Tausenden von Jahren gebot uns die Bibel, kein irdisch geschaffenes Bild zu verstehen. Heute endlich besitzen wir die Voraussetzungen, dies Gebot zu erfüllen. Religiös gesinnte Künstler empfanden die innere Verpflichtung als erste; sie verzichteten auf bloße Nachbildung der Natur und suchten dafür nach jener tiefen Konzentration und Selbstdisziplin, die zum Wesen des eigentlich Schöpferischen gehört.“

 

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Peer Veneman (1952)

a classic photo of Peer Veneman

I must have been written in the stars since many dutch artist who became houdehold names in the 80’s and 90’s were born and raised in the city of Eindhoven. There are of course Henk Visch and Piet Dirkx to whome i have devoted multiple blogs and now you can add Peer Veneman to that list. Also born and raised in Eindhoven, but this time with a different career. Where Dirkx and Visch stayed initially in Eindhoven, Veneman moved to Amsterdam and soon became part of the LIVING ROOM art scene. Here he had his first successful exhibitions and later his name would become more familiar and his works more succesfull resulting in exhibitions at galerie Onrust and at galerie Hafemann.

He became known in the 1980’s with colorful sculptures that somehow filled the space between abstraction and figuration. Ever since he took the liberty to make abstract and figurative works at the same time, denying the traditional gap between the two. One constant factor evident throughout all his work is his apparent refusal, even within a single piece of sculpture, to do the same thing twice. He aims to give new meaning to sculpture (form), painting (the surface) and architecture (spatial construction). Not only are the formal aspects of visual art questioned by Veneman in his work, his connotative intentions undergo that process as well.

www.ftn-books.com has some nice Living Room and Veneman publications available.

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Martin Rous (1939)

Rous

Another decade or so…..and i predict that Martin Rous Jr. will be one of the most wanted artists in the Netherlands. Rous has stayed true to his abstract devisions of space and surface. Using canvas , paper and prints to make his message clear to the viewer. In the beginning i did not like the works by Martin Rous, but over time i learned to look at these fascinating works and objects. Learning to see the subtile differences in using lines and dividing space and now i am actively searching to buy some of his works. Wether it is a drawing or a large painting….. It does not matter whatever comes first has my interest. A good thing to know is that i already have a small library with his books and the duplicate copies are available at http://www.ftn-books.com.

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Jerry Zeniuk (1945)

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The first thing that i thought when i saw the poster for the Jerry Zeniuk exhibition at the Josef Albers Museum was…..it looks like a large Piet Dirkx. Of course i know the works by Piet Dirkx very well and there are quite some similarities between them . They both prefer large sizes. Zeniuk even larger ones. And the use of color is almost the same.

on the left Jerry Zeniuk on the right Piet Dirkx

Zeniuk follows in the tradition of American art after 1950 with his largeformat works. The wall-filling aspect of his painting does not however seek to redefine real space; it retains its pictorial identity, which allows the painter as well as the viewer to be present in the painting. “To be present, mentally, emotionally, physically” – this was Zeniuk’s motivation as well as his challenge when creating a painting measuring four by eight meters, as he did in 2001 in Mainz, or five by five meters in Munich in 2013. These two works, which act like brackets in relation to the rest of Zeniuk’s oeuvre, are the focus of the current presentation. The oil paintings on canvas were created without the aid of a preliminary sketch. The choice and combination of colors, the movement involved in the application of paint, and the artist’s wealth of experience alone gave rise to these authentic “depictions.” Jerry Zeniuk (b. 1945 in Bardowick near Lüneburg) is one of the foremost representatives of so-called “elementary” or “essential” painting.

www.ftn-books.com has the Josef Albers Museum (signed) poster available.

For more information on the Piet Dirkx paintings please inquire since ftn art has these together with other Piet Dirkx paintings for sale.

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Carol Huebner-Venezia (1947)

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Carol Heubner-Venezia is represented by  Galerie Heike Curtze, one of the leading galeries in the world, they recognized the qualities of this photographer from the early Nineties until now. Her series of BOXER photographs has become iconic and her works can now be found in all important public photography collections.

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Roughly speaking, Carol Hübner-Venezia shows in her works the fast passing moments of everyday life. For example, since the early 90s Carol Huebner-Venezia has been photographing in Gleason’s Gym (New York). In the oldest and most famous boxing stable in the world, heavyweights such as Muhammed Ali, Joe Frazier, George Foreman, Jake la Motta and Mike Tyson once trained. But Carol Huebner-Venezia shows neither prominent boxing stars nor spectacular wrestling matches. 
Instead, her large-format works reflect the atmosphere of the milieu, they provide insight into training situations and tell of the athletes’ self-image.

In her beach series, for example, her photos show various beaches. In this series, the works depict everyday life on the beach in New Jersey. In front of us, infinite sand expanses open up, interwoven with traces and giving us a sense of loneliness.

http://www.ftn-books.com has the Carol Heubner-Venezia poster for her Josef Albers Museum exhibition available.

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Boris Kleint (1903-1996)

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He was born in 1903 in Masmünster , Alsace . After graduating from high school in Baden-Baden (1921), he studied psychology , philosophy , medicine , languages ​​and art studies at the universities in Heidelberg , Leipzig , Berlin and Würzburg from 1921 to 1925 . In 1925 he received his doctorate in Frankfurt in the subject of psychology [1] and was there at the Psychological Institute assistant to Max Wertheimer , the founder of Gestalt theory . From 1933 he studied in Berlin Painting by the Swiss painter and art teacher Johannes Itten , whose assistant he became in 1933. In 1936 Kleint emigrated to Luxembourg .

Between 1936 and 1942 he traveled from there to Walter Gropius in London and to Kandinsky and Picasso in Paris , later a second trip to Kandinsky followed. After the liberation of the Grand Duchy by Allied troops (1944) he was interned in the Luxembourg state prison “Im Grund” for four weeks.

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In 1946 Kleint received an appointment at the State School for Art and Crafts in Saarbrücken, where he took over the master class for painting and at the same time set up a “basic teaching” based on the Itten preliminary course ( Bauhaus ), which he passed on to his assistant Oskar Holweck after a few years passed on. In 1953 he took over the chairmanship of the Saarland Artists Association. In 1954 he was appointed professor and four years later a visiting professorship at the Technical University of Aachen . In 1957, Kleint and like-minded people founded the artists’ association “ neue gruppe saar ”. In 1969 his main work “Bildlehre” appeared, which became decisive for later generations of students and in several languages, including insJapanese , has been translated.

Kleint’s oeuvre covers a broad spectrum and is stylistically diverse. Both constructive – concrete elements and informal tendencies can be found in the work . According to his own statement, his artistic goal was a “visual universality” to which he subordinated the finding of a personal style.

In 1994 Klein received a Retrospective exhibition at the Josef Albers Museum. He signed a few of the exhibition posters of which one is now available at www.ftn-books.com

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Jonas Weichsel (1982)

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Weichsel is without doubt one of the youngest artists that had a one man show at the Josef Albers Museum in Bottrop and….deservedly. His works have a minimalist quality and are bright filled with color. Just see his show and it makes you comfortable and happy at the same time. Thre is nothing to distract….just the composition.

He creates minimalist paintings of uncanny precision and impalpability, which upon closer inspection translate into sensuous, lived experiences. Early on, Weichsel developed his unique analytical and systematic painting technique, which he continues to pursue often combining digital and plotting techniques with hand-painted elements to explore the possibilities and limits of painting and the boundaries between immateriality and a tangible, material presence. His paintings inherit a deceptive simplicity and unfold their full power only in the contemplation of the original.

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Jonas Weichsel, born 1982 in Darmstadt, Germany, first studied in Mainz and Düsseldorf before completing his Meisterschüler with Judith Hopf at Städelschule Frankfurt. In 2016, he was awarded a residency at the Villa Romana in Florence, Italy. In 2012, he won the Karl Schmidt-Rottluff Stipendium after having been awarded the Dies Academicus—the Prize of the Johannes Gutenberg-Universität Mainz—alongside a scholarship from the Studienstiftung des Deutschen Volkes in 2009. Recent solo exhibitions include the Joseph Albers Museum, Bottrop (2018), Museum Wiesbaden (2016), and Deutsche Bundesbank, Frankfurt a.M. (2013). Important group exhibitions include the Museum of Modern Art, Frankfurt (2018; 2017; 2011), Kölnischer Kunstverein, Cologne (2017), Kunstverein Braunschweig (2016), Kunsthalle Düsseldorf (2016), Villa Romana, Florence, Italy (2016), Frankfurter Kunstverein (2015), Kunsthalle Wiesbaden (2015), Kunsthalle Mainz (2015; 2010), Kunstraum Bethanien, Berlin (2015), Salondergegenwart, Hamburg (2013), Kunstmuseum Wiesbaden (2012), Heidelberger Kunstverein (2011), Wilhelm Hack Museum (2010), and Nassauischer Kunstverein, Wiesbaden (2010). Jonas Weichsel lives and works in Frankfurt a.M.

The Josef Albers Museum poster is now available at www.ftn-books.com

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Visible Language

Because of a recent addition to my inventory here is the information on the VISIBLE LANGUAGE magazine. It is one of the leading publications in the world of graphic design and i have added some important volumes from the 70’s and 80’s to my inventory.

Visible Language is an American journal presenting visual communication research. Founded in 1967 as The Journal of Typographical Research by Merald Wrolstad, occasional Visible Language issues are co-edited with a guest editor-author.

The journal was founded with the primary tenet of the journal being that reading and writing together form a new, separate, and autonomous language system. The journal has evolved to focus on research in visual communication. The journal has covered the subject of concrete poetry, the Fluxus art movement, painted text, textual criticism, the abstraction of symbols, articulatory synthesis and text, and the evolution of the page from print to on-screen display. Guest editor-authors have included Colin Banks, John Cage, Adrian Frutiger, Dick Higgins, Richard Kostelanetz, Craig Saper, and George Steiner.

The journal was edited for 26 years (1987–2012) by Sharon Poggenpohl of the Illinois Institute of Technology’s Institute of Design, with administrative offices at the Rhode Island School of Design. It is currently edited by Mike Zender of the University of Cincinnati, which publishes and provides administrative offices for the journal.

Below a first selection of the volumes available:

 

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Frank van Hemert (continued)…..ZEVEN

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Frank van Hemert works in series. Paintings and drawings can have the same title and be totally different from each other in size and composition. However there is one element which is fixed. In the  ZEVEN ( Seven) series its is the sequential numbering of 1,2,3,4,5,6

The Seven is not used, but the ZEVEN title completes this series of numbers. To van Hemert, the number seven is a symbol for the person who has “fulfilled” himself, become a whole person. The fact that the number itself is not included in the image indicated that this stage has not yet been attained; This “not yet” is suggested by the incomplete number sequence.

Because many of these paintings have been painted with the pink/red that has to been proven instable. Many of these paintings have been damaged or at least can not been shown  and stored properly.

This SEVEN series has become of the most iconic and important series by Frank van Hemert and fact is that from these series part of the paintings can be considered to be lost because of the paint van Hemert used. Still some are in excellent condition and  i have been fortunate to buy one of these large paintings which is in excellent condition. It comes the former Buhrmann Ubbens collection and has been preserved in an excellent way and has become now one of the highlights from our collection.

I have tried to find some from examples from the series of ZEVEN paintings and of course i will start with the one from our collection…our own ….ZEVEN

and in the end there are some publications on Frank van Hemert that www.ftn-books.com has available.

zeven hemert

 

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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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