Roelof Mulder is a multidisciplinary artist, operating in the field of graphic design, type design, interior and exhibition design. He studied fine art at the Academy in Arnhem and he attended the Jan van Eyck Academy in Maastricht for a year in order to underline his love for the graphic arts. Mulder’s departure from the academy was quickly followed by the announcement that he was to be the first winner of the Rotterdam Design Prize.
His graphic and editorial work includes books for Droog, MVRDV architects, Marcel Wanders, Stedelijk Museum Amsterdam, E&Y, and artists Yasumasa Yonehara, Marijke van Warmerdam and Marlene Dumas. He was member of the editorial staff and designer of Forum magazine and he has been art director of Frame magazine twice. Mulder also did campaign work for fashion brands such as Takeo Kikuchi and Diesel, various exhibition and communication work for incubator Platform21, and stamps for the Royal Dutch Post.
Italian artist Roberto Fanari imagined such a vivid story-telling collection of sculptures Seconda B 2012. Each piece forms itself in a barely visible outline. Sweet subjects are wrapped in iron wire, appearing more dense toward the feet, hands, and head. Royal placement sets some high on a pedestal where a bit of romance introduces a ceramic glazed gentlemen.
An excellent expose on the art of Roberto Fanari is found at this site:
I just “discovered” Piet Tuytel and his art and made my first acquisition. I have encountered his works on numerous auctions and always thought his work to much random, but now that i have read more about the artist and have seen some of his works exhibited, i must alter my opinion. This is far from random. He varies on a theme and uses the materials you can find at construction markets in a way nobody does. Using colors to enhance and constructing/ welding materials to make his sculptures and multiples. The multiple i have acquired is one from a series of 3. Signed numbered and dated 1990. In this period he uses rubber hoses. mesh, constructing steel and in this case a baking form for cakes. The impression he makes with this ‘ ADONIS” is a strong person perhaps a body builder , just the outline and one keeps being fascinated by the materials used. Rough , but a joy to look at and admire. The “Adonis ” sculpture is now available at www.ftn-books.com
Susana Solano’s creative structure has taken shape all throughout her career like one of the metallic meshes that are a constant feature of her works. It has shaped a map of communicating vessels in which material, space, senses and life experience make up a fluid continuum. Susana Solano’s works, regardless of the materials used and their size, correspond to an underlying idea of witnessing existence through its materialization as a memory of her emotional relationships with spaces, shapes and people. For this reason, every sculpture absorbs and expresses personal experiences that radiate out over the setting and transform them, as if it were a cosmic game.
My ideal space is a unique space, empty of stories, with which I could fall in love. A space unknown to me, an atmosphere of thought. I want now to concentrate on a life in which there is nothing and to work with the minimum possible.
Solano is best known for her abstract sculptures made from a range of materials that includes iron, steel, lead, glass, rattan and wire mesh. She belongs to a generation of pioneering female sculptors who expanded a realm conventionally dominated by men. Within the traditions of post-minimalism, Solano’s work conveys a connection to personal memory, domestic space, and the natural world. With the artist’s hand leaving traces of her process, the rigidity of the materials is counterbalanced with the personal. Her approach is one that channels architectural forms and consideration of space with a delicate quality that balances the natural and the industrial.
Susana Solano lives and works in Barcelona. Her group exhibitions include Skulptur Projekte Münster and Documenta 8 in Kassel, Germany (1987), São Paulo Biennial (1987), the Spanish Pavilion at the Venice Biennale (1988), the Carnegie International (1988), and the Museo Nacional del Prado, Madrid (2007). She has also had solo exhibitions at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1989-90), the San Francisco Museum of Modern Art (1991), the Museo Nacional Centro de Arte Reina Sofía, Madrid (1992 and 2003), Whitechapel Gallery, London (1993), the Museu d’art Contemporani de Barcelona (MACBA) (1999), and Museo Casa de la Moneda, Madrid (2012-13). Her work is included in numerous public collections, including the Museum of Modern Art, New York; the Guggenheim Museum, Bilbao; Museo Nacional Centro de Arte Reina Sofía, Madrid; Stedelijk Museum, Amsterdam; Museum moderner Kunst Stiftung Ludwig Wien, Vienna; Fine Arts Museums of San Francisco and the Carnegie Museum of Art, Pittsburgh, among others.
The first time i encountered the name of Vroegindeweij was at the time i started to take an interest in the students who visited the”Ateliers 63″ academy. Leo Vroegindewij was a student at Ateliers 63 in the years 1976-1978 and finshed his studies around the time i started my publishing years at the Gemeentemuseum Den Haag. It is also the years i took an interest in the Art & Project gallery which was one of the f
irst to show the works by Leo Vroegindeweij. I like his sculkptures however they are not very suited for the living room and really need space and only galleries and museum s can presdent them in a proper way and for me that is the reason i never considered buying a work by Vroegindeweij. They need “room to move” and it is hard to realize such space in a family home. Still, his works must be admired and whenever a small one comes to the market i promissed myself to reconsider buying one.
As a teenager, Herzl Emanuel studied art at the Rochester Memorial Art Gallery in Rochester, New York. Emanuel quithigh school in 1931, and, with the assistance of several patrons who recognized his talent, went to Paris, hoping to study with Emile-Antoine Bourdelle. Although the French master died with Charles Despiau and Fernand Léger and attended lectures given by André Lhote. He was soon joined by Hananiah Harari, then a student at Syracuse University, with whom he shared a studio and later accompanied to Palestine. In Paris, the two young men were intrigued by contemporary art. They felt its validity and power without fully understanding why Picasso, Matisse, and others could so successfully do such violence to the figure.(1) Believing the answer to their questions lay deep in the history of art, Emanuel and Harari spent a year drawing from the collections at the Louvre. Beginning with Hittite and Egyptian art, they worked their way chronologically to the nineteenth century, seeking to understand the structure and logic of the art of the past. In the Louvre, Emanuel says, we learned the grammar of art. We learned its syntax, its alphabet, until contemporary art represented no mystery. We learned its rationale, where it came from, the basic language. We saw its connection with the art of the past.”(2) Although in Paris whenAbstraction-Création wasbeing formed, Emanuel and Harari saw such publications but paid little attention to the theories or the movements germinating around them.
As fascism threatened Europe, Emanuel and Harari left for Palestine where they worked on a kibbutz for over a year. Although the kibbutz regimen left little time for art, the experience enriched them philosophically. After a brief stay in Jerusalem, Emanuel returned to the United States and in 1936 joined the sculpture division of the New York Federal Art Project.(3) During the mid 1930s, Emanuel was sympathetic with leftist political causes. By participating in the WPA, he said, “we felt we were working directly for society.”
When war came, Emanuel went to work for a shipyard, and afterwards made his living doing display work. Later he worked as an illustrator. During the mid 1950s he taught illustration, sculpture, and a foundation course at the School of Visual Arts in New York. After six years, he gave up his teaching position to return to Europe. In Rome, he set up a studio that he still maintains.
Throughout his career, Emanuel’s art has been centered in a deeply felt humanism. Art for him offers a way to come to terms with the human condition. Though he still finds inspiration in Romanesque and Italian Renaissance art, it was Picasso’s Guernica that had the most dramatic impact in his life. Calling it the most significant work of art of the twentieth century, Emanuel has sought to achieve in his own work a fusion of abstracted form with tragic content that parallels Picasso’s powerful statement. Since the 1930s, his sculpture has evolved from an Analytical Cubist format to an Expressionism in which the human form is distorted to convey the human condition. Yet by intertwining limbs and connecting gazes in multifiguralcompositions, he offers up human relationships as notes of hope that temper the effects of a tragic existence. www.ftn-books.com has the Kuhlik 1972 catalogue now available
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.
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
Niek Kemps has been a part of the international art scene since the eighties. The artist wants to stimulate the spectator with his conceptual work, to process images in a different way; a statement about the attention span of modern day society and the accompanying image culture. Kemps’ work is like a laboratory, wherein he does both substantial as visual research to the social and cultural context, and how this relates to image, space, contemporary art and the concept of ‘museum’.
Sculpture becomes space, space becomes museum. A museological space can take diverse appearances: whether it’s static, collapsed, moving, hidden or even virtual. In his work, the artist questions, among other things, the more traditional configuration of the museum. From the need for a funded complexity, he analyses the different connotations, and this from a philosophical and visual stand point. In doing so, Kemps researches the impact of a full virtualization of the museological existence, wherein a virtual (read: fictional) museum merely displays digital work.
Also in this imaginary constellation, the focus remains on the perception of context and space. An intertwining between fiction and reality is created. Virtual work is easily translated into a physical construction, a spaciousness, a sculpture, and vice versa. Kemps’ images never stand alone; they consistently show a sensitivity in relation to their surroundings, they interact so to speak with the space wherein they are located.
‘The narrow line between sight and seeing’, a work from 1986, is a speaking example of this. Until now, this illustrates the essence of his oeuvre. Originally it seems to be a sculpture. Yet the work is experienced as a space; a between area that questions all sorts of traditions and clichés. By continuously operating on this interface, the artist challenges the spectator to get out of their comfort zone, to explore the work, and to spend time with / in it. The artwork reveals itself only to the patient, attentive spectator. Every composition is formulated very precisely, like a poem. This form of complexity ensures that the work can never be apprehended at first glance. To fathom the different layers of meaning(s) takes time and effort. By defying fixed landmarks, meanings, perspective, and scale, every form of rational analysis is extracted or simply removed and it results in an astonishing artwork that invites to be lived and incites the spectator to reflect one self.
Her first major exhibition was at the Stedelijk Museum, but her best publication by far is the one which was made for her exhibition at the Museum Bommel van Dam in 2011.
(available at www.ftn-books.com) Great publication, designed by Adriaan Mellegers and printed by one of the very best printers in the business, Lecturis. Tielemans works differ in size. From intimate small sculptures to a room filled with installed sculptures altering and reconstructing the room in a fascinating way.
Her work is now part of the exhibition Momentum at the Voorlinden Museum.
Our world is poised on the brink of a tipping point as well. We must make choices regarding climate and migration, issues that are impacting our lives more and more intensely.
Momentum brings together more than thirty works that embody this tension. This selection from our collection unites new and established names working in a wide range of media. Together they offer insights into the personal and collective challenges of our time. With works from artists including Anish Kapoor, Rineke Dijkstra, Jacco Olivier, Esther Tielemans, Ryan Gander, Gabriel Rico and Mona Hatoum.
I understand completely that artist draw inspiration from other artists their works, but in the case of this “Fait d’hiver ” it is far too much a copy than an original work by Koons. I know of the spectacular Banality series sculpture from the Stedelijk Museum and i think it was a rightful choice to acquire this for a large sum., but i did not know the sculpture from the Centre Pompidou and its history. Here is the storuy which i found on “art-critique”
A Paris court of appeals has upheld a 2018 ruling regarding a 2015 copyright infringement lawsuit brought on by photographer Franck Davidovici. With the Tuesday decision, the Centre Pompidou and artist Jeff Koons have been found guilty of copyright infringement and now jointly owe Davidovici €190,000 (£163,900).
The lawsuit hinges on a 1988 sculpture by Koons called Fait d’hiver depicts the bust of a woman lying on the ground as a pig, wearing a flowered collar with a barrel, and two penguins look on. The amusing sculpture was part of “Banality,” a series by Koons that debuted in 1988. The series raised eyebrows at the time but many of its works would go on to be featured in a 2014 retrospective of Koons’ works that kicked off at the Whitney in New York before traveling to the Centre Pompidou and then the Guggenheim Bilbao.
Meant to be commentary on the imagery of mass media, Fait d’hiver became the centre of the dispute after Davidovici saw Koons’ sculpture in a catalogue for the Centre Pompidou’s exhibition of the 2014 retrospective. The issue was that Davidovici found the sculpture to be incredibly similar to a photograph taken and published by the photographer in 1985.
Davidovici’s black and white photograph was created for the French brand Naf Naf and included a woman, wearing a jacket with fur accents, lying on the ground. A pig, wearing a collar with a barrel gazes at the woman with the words “FAIT D’HIVER” in the top left corner of the two-page spread.
While Koons made a few alterations, like the addition of two penguins and swapping the fur jacket for a mesh top, the sculpture does seem to mimic the photo taken by Davidovici just a few years earlier.
Davidovici first sued Koons and the Parisian museum in 2015 and in 2018, a judge ruled that the artist and museum violated copyright laws and owed Davidovici €135,000. However, the artist and museum appealed the ruling which has now been upheld and their monetary penalty was increased by €55,000. Additionally, if the museum or Koons continue to exhibit Fait d’hiver online, they will be fined €600 per day. Meanwhile, the publishers of the 2014 catalogue that accompanied the retrospective now owes Davidovici €14,000 as well.
In 2007, an artist’s proof of Koons’ Fait d’hiver sold at Christie’s for just under $4.3 million (£3 million).
Koons is no stranger for being taken to court for plagiarism. In 2019, a Paris court upheld a 2017 ruling that found the artist, and again the Centre Pompidou, guilty of copyright infringement. That case concerned Koons’ sculpture from the same series called Naked and a photograph titled Enfants by French photographer Jean-François Bauret. While the sculpture was not shown in the 2014 retrospective, images of it were used to advertise the show. The artist and museum were ordered to pay €20,000 to Bauret’s family. Koons also paid the family an addition €4,000 for use of the image.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20