Katharina Sieverding (1944)

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If there is one artist who realizes the same intensity as Andy Warhol with her self portraits, it is Katharina Sieverding. Sieverding’s works consist of self-portraiture and most have an abstract quality. She uses the techniques of silhouette, contrast, and extreme close-up to make the photograph more revealing of herself.

She tinted all the prints in one 1969 series a deep scarlet, and for another painted her face gold. Her work often makes statements about society and the individual, such as showing the familiarity of the self and the distance of others. Often she puts multiple portraits together in one piece. Each portrait fills the frame in a way to show the presence of self.

Katharina Sieverding’s publication are rarely offered but http://www.ftn-books.com has some nice ones availabel and do not forget the discount code for the rest of this month : WEINER10

Lawrence Weiner…Two special dutch editions and discount code

The followers of this blog know of my admiration for Lawrence Weiner. I am always keen and interested in publications by or on Weiner nad therefore i was lucky to acquire to my inventory 2 special editions. The first one, BINNEN HET GEGEVEN VAN REACTIE  is from the Seventies and printed on a thick carton like paper and published by the van Abbemuseum. The second is an exhibition poster from 1989 for the Weiner Exhibition in the Stedelijk Museum Amsterdam. Both are in excellent condition and when you use WEINER10 before the end of this month. There is a discount of 10% for these and all other purchases on http://www.ftn-books.com

 

Kustavs Klucis / Klutsis (1895-1938)…photomontage posters

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Gustav Klutsis (Latvian: Gustavs Klucis, Russian: Густав Густавович Клуцис) (January 4, 1895 – February 26, 1938) was a pioneering Latvian photographer and major member of the Constructivist avant-garde in the early 20th century. He is known for the Soviet revolutionary and Stalinist propaganda he produced with his wife and collaborator Valentina Kulagina.

This is how Wikipedia starts on this Russian photographer . What Klucis makes important for me is not the Constructivist part in his biography. For me his use of photomontage in the context of the rapidly changing times make his works spectacular. I had never heard of Klucis before, but because the Gemeentemuseum held and exhibition on Klucis in 2008 i became an instant admirer.  Together with this exhibition a catalogue was “in-house” published in a very limited edition ,which shows in an excellent way the importance of Klucis. I believe the edition size, because of the printing “on demand” situation, was only 250 copies .  It makes it difficult to find, but the good thing is….. i have it in stock and the catalogue is available at www.ftn-books.com.

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Here is part of the text published by the Gemeentemuseum Den Haag:

From 1913, Klucis studied at the City Art School in Riga. In 1915, when the city was attacked by German troops, Klucis was conscripted into the imperial Russian army and ordered to Ochsta near St Petersburg, where he subsequently studied at the Art Academy. In the days following the October Revolution of 1917, he volunteered to join the Ninth Regiment of the Latvian Red Infantry in defence of Lenin. Inspired by Malevich and Constructivism, he also began around this time to produce art in support of the emerging Communist state.

In 1919 Klucis produced a series of drawings, photomontages and paintings entitled Dynamic City, showing that he wanted to turn Malevich’s Suprematism into a more concrete artistic movement. Developing alongside Tatlin, Pevsner and Gabo, he became one of the first Constructivists, producing work that exemplifies the political engagement and spirit of innovation that inspired this Russian movement. Around 1919, he discovered photomontage, which he himself later described as a new kind of art for the masses: the art of the Socialist revolution.

From this time on, Klucis was offered a series of prestigious design commissions. These included, for example, one for the 1928 Spartakiade (the Soviet Union’s alternative to the Olympic Games). Klucis designed a series of postcards and a poster establishing a clear link between sport and revolution. In all, he produced over a hundred poster designs, many of them relating to the Five Year Plans and supporting the collectivisation of agriculture and the large-scale industrialisation of the Soviet Union.

Gustavs Klucis was arrested on 17 January 1938 and accused of belonging to a Latvian terrorist organisation (such ‘random’ political purges were a feature of life under Stalin). He was taken away and for many years his wife, artist Valentina Kulagina (1902-1987), knew nothing of his fate. In 1956 his family heard that he had died of heart failure in a labour camp in 1944. It was not until 1989 that they were informed that he had in fact been shot in Moscow on 26 February 1938.

Maeght edition….NOISE no. 10 LeWitt/Appel

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If ever there was a series that deserves to be collected it is the NOISE series published by Maeght editeur and sepcially the no. 10 volume within the series is exceptionally beautiful ( available at www.ftn-books.com). These publications are printed by the best in the business and are far larger sized than the usual Maeght publications. At a size 15 x 10.6 inches and in many cases spread over two pages, these publications are a true treasure trove. For instance the no. 10 issue has contributions by Karel Appel and Sol LeWitt and these artists show their best works in this publication. Check out the different issues published by Maeght and take a look at the no. 10 issue for sale at my shop.

 

Fiona Rae (1963)

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I never had heard of Fiona Rae until i purchased the excellent Voorwerk box published by Witte de With in which there was a contribution by Fiona Rae. Rae  ( born in Hong Kong) added to this Voorwerk box a small unique painting , making this box one of the most sought after art publications from the last 30 years. These boxes were published in an edition of only 500 copies by Witte de With in the very beginning of its existence. Chris Dercon was the responsible curator, who later would become the director of the Boijmans van Beuningen. An article on Blouin triggered this blog on Rae since an exhibition in Lugano was recently opened. Here follows the Blouin artice and of course for the unique Fiona Rae painting visit this link at http://www.ftn-books.com:

https://ftn-books.com/products/fiona-rae-original-painting-from-500-paintings-for-witte-de-with-mint

use the code: fionaftn  and receive a USD 95.00 discount on this purchase.

valid until the 31st of december/ only 1 work available.

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Buchmann gallery in Switzerland presents British painter Fiona Rae’s paintings for the first time in Buchhmann Lugano.

The paintings featured in the exhibition are part of the most recent works by the British artist. The works begun in 2014 and are comprised of a number of charcoal drawings. Initially, the series started out as grayscale works and relied upon its fluidic flow of the brush in a calligraphic style, completely omitting the colors. The largest of the painting, thus, is limited to a size which she can completely control from a single standpoint; and can through her brush freely to cover the entire canvas with a single brush stroke.  It’s the magic of the art of calligraphy that makes the canvas as well as the drawings free flowing but with an intense precision and even discipline.

The large work upon canvas, the painting named “Figure 2a” introduces color on the foreground upon a grayscale backdrop.  This approach literally highlights the figure in contrast with the backdrop and creates a new concentration and dynamism in the constellation of figure and ground, surface and line. This approach has been further explored through her smaller drawings and paintings on paper as well, like the paintings “Figment 2u,” “Figment 3b” and “Figment 3c.” For the title of her painting, Rae uses a taxonomic system: Figure 1a, Figure 1b, etc. In this way, she creates a distance between the painting and the title, enabling the viewer to concentrate on contemplating the pure painting. Still, Fiona Rae’s signature remains clearly recognizable in these new works, evidence of the many visual codes and tropes she has developed and made her own over the years.

These new paintings make clear what Fiona Rae means when she says: “I see these paintings as suggesting the presence of a figure, whilst simultaneously insisting on its absence; the paintings remain abstract. I want the urgency of paint marks and gestures made only by the hand; the need to make a mark that goes back thousands of years.”

The exhibition is on view through November 25, 2017 at Buchmann Gallery, Buchmann Lugano Via della Posta no. 2, CH-6900 Lugano.

Alex Vermeulen (1954).. a smile 4 a smile SOH

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Alex Vermeulen is a dutch multi-media rtist who has had several museum presentations in the Netherlands. In 1993 Vermeulen moved to Amsterdam and founded in 1995 “SOH-States of Humanity” and the Syndicaat foundation. A year later he presented his final film-book, as part of a large installation, Fuga Futuri,[4] at Amsterdam’s Stedelijk Museum (1996). The chief character introduced in this show for the first time, was the stylized humanoid “Eggy”, named after his egg-like shape. In the following fifteen years sculptures of various forms of the enigmatic Eggy would appear in a number of projects mounted in public places around the world including New York (1996) where Vermeulen asked those who passed to select their favorite Eggy and relate it to their personal life.

There is an excellent piece to be foumnd on Wikipedia, but to show something of his qualities as an artist here is the  A SMILE FOR A SMILE video

there are some publications by Vermeulen availabel at www.ftn-books.com

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Hans Sonnenberg (1928-2017)

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Yesterday il learned that one of the icons in the dutch gallery scene has died. Hans Sonnenberg founded Delta gallery in Rotterdam, which opened its doors on 8 January 1962 and it was the first gallery in Rotterdam that concentrated exclusively on contemporary art. The role that Hans Sonnenberg played as gallery owner and collector in the Rotterdam art world cannot be overestimated. He succeeded time and again in bringing international developments to the harbour city. In addition, he was aware of the importance of a platform for Rotterdam artists. Sonnenberg has run Delta for an uninterrupted period of fifty years. In his opinion, the gallery owner should ideally be closely connected with the gallery. “The gallery and the gallery owner are one. They call me Mister Delta, but Delta is Hans Sonnenberg”, says the gallery owner in a recent publication.
www.ftn-books.com has some nice gallery Delta publications available.