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Robin Winters (1950)

Robin Winters and Europe are possibly a better match than Robin Winters and the US. There have been many shows and important museum presentations in Europe, possibly more than there ever have been in the US. This presence meant a great circle of admirers and some extremely nice publications of which i consider the large printed cotton canvas the very best of them. ( available at www.ftn-books.com ). This extraordinary work measures 150 x 130 cm. and comes with an original Winters drawing printed on paper and signed and dated in pencil by Winters. The cotton work was published in an edition of only 169 copies and shows the best qualities of the art of Robin Winters. Published by publishing house Bebert in 1986.

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the following text comes from Wikipedia

Robin Winters (born 1950 in Benicia, California) is an American conceptual artist and teacher based in New York. Winters is known for creating solo exhibitions containing an interactive durational performance component to his installations, sometimes lasting up to two months. As an early practitioner of “Relational Aesthetics” Winters has incorporated such devices as blind dates, double dates, dinners, fortune telling, and free consultation in his performances. Throughout his career he has engaged in a wide variety of media, such as performance art, film, video, writing prose and poetry, photography, installation art, printmaking, drawing, painting, ceramic sculpture, bronze sculpture, and glassblowing. Recurring imagery in his work includes faces, boats, cars, bottles, hats, and the fool.

for an extensive article on Robin Winters please visit https://alchetron.com/Robin-Winters-910625-W

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Dan Flavin (1933-1996)

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Dan Flavin

 

Minimal Art, but for me completely different because of the great change his art makes to its direct environment. Colors, size and composition of the lights change the room  where the light sculptures are exhibited completely.

There must be a wealth of unfinished projects, because Flavin generally conceived his sculptures in editions of three or five, but would wait to create individual works until they had been sold to avoid unnecessary production and storage costs. Until the point of sale, his sculptures existed as drawings or exhibition copies. As a result, the artist left behind more than 1,000 unrealized sculptures when he died in 1996.

 

His earliest works were exhibited in the van Abbemuseum in 1966. The Netherlands were at that time one of the earliest countries to adopt the Minimal Artists. Major exhibitions by LeWitt, Andre and Judd in the late 60’s  were held in Den Haag and Amsterdam.

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Flavin realized his first full installation piece, greens crossing greens (to Piet Mondrian who lacked green), for an exhibition at the Van Abbemuseum, Eindhoven, Netherlands, in 1966. Flavin’s “corridors”, for example, control and impede the movement of the viewer through gallery space. They take various forms: some are bisected by two back-to-back rows of abutted fixtures, a divider that may be approached from either side but not penetrated (the color of the lamps differs from one side to the other). The first such corridor, untitled (to Jan and Ron Greenberg), was constructed for a 1973 solo exhibition at the St. Louis Art Museum, and is dedicated to a local gallerist and his wife. It is green and yellow; a gap (the width of a single “missing” fixture) reveals the cast glow of the color from beyond the divide. In subsequent barred corridors, Flavin would introduce regular spacing between the individual fixtures, thereby increasing the visibility of the light and allowing the colors to mix.[24]

By 1968, Flavin had developed his sculptures into room-size environments of light. That year, he outlined an entire gallery in ultraviolet light at documenta 4 in Kassel, Germany. In 1992, Flavin’s original conception for a 1971 piece was fully realized in a site-specific installation that filled the Solomon R. Guggenheim Museum’s entire rotunda on the occasion of the museum’s reopening.

www.ftn-books.com has many titles on Minimal Art and some on Dan Flavin

 

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Francois Morellet (1926-2016)

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It was 7 years ago that the Peter Stuyvesant collection was sold by Sothebys Amsterdam. Within this collection there were some very important Morellet paintings. Large , complex and typical Morellet. As i learned later one of them was bought by Joop van Caldenborgh. The initiator and founder of the Museum Voorlinden in Wassenaar. This painting was fantastic and showed for me why Morellet has become one of my favorite painters of all time.  The painting from the BAT collection was estimated between 20.000 and 30.000 euro, but had a hammer price of euro 432.750. Which is 14x the maximum estimated price.

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For us “mortals” this is completely out of reach, but still some great works by Morellet can be had at affordable prices , because Morellet contributed in many ways, to excellent publications in which original silkscreens or lithographs were included. One of these publications is available at www.ftn-books.com ( for availability inquire/ p.o.a.), together with many other rare Morellet publications from the 60’s and 70’s.

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After a short period of figurative/representational work, Morellet turned to abstraction in 1950 and he adopted a pictorial language of simple geometric forms: lines, squares and triangles assembled into two-dimensional compositions. In 1961, he was one of the founders of the Groupe de Recherche d’Art Visuel (GRAV), with fellow artists Francisco Sobrino, Horatio Garcia-Rossi, Hugo DeMarco, Julio Le Parc, Jean-Pierre Yvaral (the son of Victor Vasarely) and Joël Stein, François Molnar and Vera Molnar (the last two left the group shortly after). Morellet began at this time to work with neon tube lighting.

From the 1960s on, Morellet worked in various materials (fabric, tape, neon, walls…) and in doing so investigated the use of the exhibition space in terms similar to artists of installation art and environmental art. He gained an international reputation, especially in Germany and France, and he was commissioned to create work for public and private collections in Switzerland, Great Britain, Italy, the Netherlands and the U.S.A.

Morellet , french, but in his approach to art more cosmopolitan, because he must be influenced by the minimal artists that were starting to appear on the art scene during the 60’s and early 70’s. He experimented with lines, grids, and light and developed an art form recognizable as being Morellet. an important artist and for me personally one of the greatest from last century.

 

 

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Eduardo Paolozzi- Stedelijk Museum catalogue nr. 442

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There are multiple reasons to like the publication no 442. of the Stedelijk Museum Amsterdam. Published in 1968 on the occasion of the Eduardo Paolozzi exhibition this is a 100% original work of art . A serigraphie by Paolozzi in his typical Pop Art style. Folded as issued and when folded out an impressive large work of art. Design?….by Wim Crouwel who used the backside of the serigraphie for all the information on Paolozzi. A great Pop Art work of art and available at www.ftn-books.com

 

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Lucebert (1924-1994)

Everywhere i come across Lucebert (Lubertus Jacobus Swaanswijk) nowadays. Re-editions of his poems, paintings at auction and exhibitions in galleries and museums. There is a huge interest in his works since 20 years or so, but before that period he was hardly known  as a painter , but nowadays he is considered as one of the leading dutch artists from the 20th century . In his early years he was very much influenced by Cobra , but soon he developed his personal style which for me is a crossing between Cobra and Art Brut. He became known for his poems, but when you ask about Lucebert nowadays, people think of him first and foremost as a painter and because of this interest it is harder and harder to find the early publications on his paintings and etchings. There are some by Nouvelles Images, but the most important ones come from the pubvlications series of the Stedelijk Museum Amsterdam. Publications in which original etchings were bound and therefore are highly collectable ( and expensive) publications. www.ftn-books.com has a nice selection of classic and collectable Lucebert publications.

for more information on Lucebert visit http://lucebertstichting.nl

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Francesco Clemente (1952)

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There is no larger Modern Art Museum in the world that has no Clemente in its collection. From Amsterdam to New York the works by Clemente have spread all over the world. But for us in the Netherlands, it was important that Clemente had some exhibitions with the Art & Project gallery and from one of these exhibitions a beautiful little book was the publication result edition of only 800 copies). This and other Clemente books are available at www.ftn-books.com.

Clemente’s work spans four decades. His work is stylistically varied, inclusive, erotic, and nomadic. It embraces diverse mediums and diverse cultures as well, aiming at finding wholeness through fragmentation and witnessing the survival of contemplation and pleasure in our mechanical age.

Clemente’s work is rooted in political utopia and expresses an anti-materialistic stance. In the 1970s he moved from photography to drawing and anticipated the return to painting of the 1980s.

His work is also nomadic. In the 1980s he divided his time between India and New York. While briefly associated with Neo-Expressionism he took an interest in collaborative works both with Indian craftsmen and with painters like Basquiat and Warhol, and poets like Robert Creeley and Ginsberg in New York. In an interview with The Brooklyn Rail, Clemente commented “these poets had been looking at the East for inspiration and I was also anxious to evade the materialism of the West.”

In the 1990s Clemente explored intensely erotic imagery, inspired by the Tantra traditions both of India and Tibet, and turning contemporary preoccupations with identity and sexuality into an occasion to ask questions about the nature of the self. In the 2000s Clemente underwent a darker and grotesque phase, returning in recent years to luminous images of repose and transformation.

Since the 1980s until today, Clemente has also chronicled New York intellectual and social life through a great number of portraits, contributing to the revival of a genre until then somehow discredited.

Clemente’s art has been presented in solo and group shows internationally. Major retrospectives have been held in the 1990s at the Philadelphia Museum of Art, at The Royal Academy in London, at the Centre Pompidou, Paris and at the Sezon Museum of Art, Tokyo. Clemente’s art was also featured in 1999-2000 at the Solomon R Guggenheim Museum, New York, and at the Guggenheim Museum, Bilbao. In the 2000s retrospectives were held at the Irish Museum of Modern Art in Dublin, at the Museo MADRE, Naples and at the Schirn Kunsthalle, Frankfurt. An exhibition of self-portraits and of Clemente’s own version of the Tarot Cards was held at the Uffizi Gallery, Florence in 2011. (the text and information above comes from Wikipedia).

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Denise Rene new additions

 

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The followers of this blog know that i have a preference for some galeries. Among them there is of course Galerie de France, galerie Steltman and certainly galerie Denise Rene. From the last one i have acquired some nice additions to my inventory.

Catalogue by Francois Morellet – 1967

Catalogue by Victoir Vasarely – 1966

Catalogue by Le Parc – Couleur – 1959

The catalogues of this gallery always amaze me. They stand out from many of the other catalogues published in the sixties and they are well worth collecting, because in many cases the edition size is very small and almost always the design is top notch…. even in some cases an original work of art is included. ( ~VASARELY invitation).

The choice is far from complete, but there are some very nice examples of GALERIE DENISE RENE catalogues available at www.ftn-books.com

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Beauty and simplicity at de RIJK Fine art

Last week i was in the Stedelijk Museum  Amsterdam and was very much impressed by the Malevich and “white” rooms with Dekkers and Schoonhoven. White and nothing but white and it reminded me of the current exhibition at de Rijk Fine Art ( Noordeinde 95 /Den Haag).

Excellent, high quality, museum worthy paintings by ao Schoonhoven , Dekkers and Leblanc… in a totally different setting which was more a cosy living room ( including the dog ;-), than a gallery. The simplicity and in the same time complexity of the works, work very well in this setting. They do not need a museum presentation to show their true qualities. This exhibition lasts until the 26th of February so i advise you to take a look at the de Rijk gallery and see for yourself the qualities of this great and important gallery exhibition.

For publications on Schoonhoven, Dekkers and Malevich visit www.ftn-books.com

 

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SOTO and galerie Denise Rene

One of my favorite galleries of all time is the galerie Denise Rene in Paris and not only because the artists they represent are the ones i like most, but also because of their publications which in many cases contain something extra. Like this SOTO catalogue from 1970 which i acquired last week. The blue, silver and yellow squares within the catalogue are all executed in silkscreen prints and which combinations forms an abstract composition within the catalogue, which makes this catalogue some kind of an artist book and not an ordinary catalogue. This catalogue is now available at www.ftn-books.com. As for the other Denise Rene catalogues search for Denise Rene and find some other great catalogues by this famous gallery in Paris.

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Georg Baselitz (1938)

 

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At the time i had not seen that many Modern Art works, the first time i encountered the works by Baselitz i thought of them as stupid, a gimmick, but seeing more of them ..specially the very large onses , i altered my opinion and now i find them impressive and monumental. This proces took some 30 years, but i honestly can say that for me, Baselitz is one of the greatest living artists.

Georg Baselitz, born Hans-Georg Kern in Deutschland near Dresden in 1938, now lives and works between Basel (Switzerland), the Ammersee (Bavaria) and Imperia (Liguria). He has been an influence on international art since 1960, his works developing in the arena of the reception of German expressionism on the one hand, and the lightness of American painting (Jackson Pollock, Willem de Kooning) on the other. His Helden [heroes] group, finger-paintings, fracture and Russian paintings, which focus on his German past are represented in almost all distinguished museum collections. From the late 1960s, Baselitz demonstrated his premiss of visual insight taking priority over the subject by deliberately showing his works upside down. The result is a unique simultaneity of figuration and abstraction. This urge towards permanent variation and change is also evident in his late work. Since 2006 he has produced so-called remix paintings in which, with an unprecedented lightness of touch, he re-examines the iconography of his own historical works. Many Baselitz titles can be found at www.ftn-books.com including the facsimile reprint of the famous Malelade artist book.