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Ulrich Rückriem (continued)

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A few years ago i wrote a blog on the work of art i was able to buy , but did not. The story is as follows. At that time the Gemeentemuseum was printing its publications with the very best printers in the Netherlands. Among them was of course Lecturis and my contact with Lecturis was the late Jan Jongepier. Jan , knowing my interest in art , offered me at one time a series of original works of art. All were for sale through Lecturis. Lecturis had at one time accepted works of art as (partial) payment for the publications they were printing for the artists. These publications were made outside the official editions for the dutch museums or accepted as part of the financing of the editions. They build a nice collection this way, but did not know what to do with it, hence the offer, which was made to me. In retrospect i can tell that these prices were outright cheap, but at that time i could not finance any of the works offered.

Still i always remember Jan and his art collection from Lecturis. Specially now that i have added the Rückriem catalogue which must have been the origin of the Ruckriem work in the Lecturis collection. It is now available at http://www.ftn-books.com

ruckriem abbe

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Josephine Rutten (1950)

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I did not know Josephine Rutten, but found a very nice and excellent designed publication on her, which was published in 1995 by de Jong/ van Mourik . An edition of only 500 copies of which not many must have found their way to collectors and bookstores, because this is the first i encountered in 15 years. Rutten has found a language of her own and if there is one artist her works remind me of, it is Dubuffet. The use of colors and in some of them vague human shapes in her paintings made me think of this artist. Still the “art language” of Rutten is one of her own and i can truly recommend this nice publication on this artist.

available at http://www.ftn-books.com

rutten

 

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Luciano Fabro at Christian Stein, 1988

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Christian Stein was the preferred location for Fabro to present his latest works on a regular basis.

Fabro was born in Turin, so this was a natural choice , and he moved to Udine, in the Friuli region after his father’s death. He was influenced by artists such as Yves Klein, and Lucio Fontana; he was also close to the artists involved in Azimut, such as Piero Manzoni and Enrico Castellani. In 1958, after he saw Lucio Fontana’s work at Venice Biennale, Fabro moved to Milan where he spent the rest of his life pursuing his artistic career.

Fabro was involved in the Arte Povera group, which was interested in experimenting with industrial and natural materials, focusing on process, language and the body. Fabro’s best known works were sculptural reliefs of Italy made out of glass, steel, bronze, gold and even soft leather. The signature unorthodox, ‘poor’ materials in his works include steel tubes, cloth, newspapers, and wax;[3] the artist, however, often used also traditional and expensive art materials such as gold, marble, and bronze.[4]

He died on 22 June 2007 in Milan following a heart attack.

The Stein location presented some wonderful works and together with these exhibitions some great art related material was produced. Here is the invitation for the 1988 exhibition which is now for sale at http://www.ftn-books.com. A fold out card with prints on both sides.

fabro stein a

fabro stein b

 

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Jaap Mooy (1915-1987)

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Jaap Mooy is a dutch artist who is increasingly recognized as being important for Modern Art in the Netherlands. He witnessed the development of abstract art and was in the last decade of his artistic life an abstract painter pur sang. There are many influences to be recognized within his art. There is a bit Lucebert, Karel Appel, Tajiri, Jean Arp and Tinguely, but also influences of Bauhaus in his collages.

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Still this kind of art is getting more important by the year, because it shows the way abstract painting was developing over the years in the Netherlands and Jaap Mooy was an important artist contributing to this development.

left Mooy and right Jean Arp

http://www.ftn-books.com has now the most important Jaap Mooy publication available.

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Pierre Paulin ( 1927-2009 )

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Pierre Paulin , French and a master of the organic shaped modern classics he designed over the decades. The Orange Slice is such a beautiful appelaking small chair . Still produced by Artifort and high on our personal wish list. But there are so many more designs by Paulin that have the status of Modern classics.

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Pierre Paulin  made a considerable impression with a contemporary shell fauteuil, at an international furniture show organised by Kho Liang le. Shortly after the show, he became a freelance designer for Artifort. This marked the beginning of a long and fruitful collaboration. What makes his designs so distinctive is their striking sculptural shape, which earned Paulin many prizes worldwide. His work remains timeless and progressive even today. This is not form for form’s sake but applied design. With comfort as the constant starting-point. Artifort still includes many of Paulin’s designs dating from the nineteen-sixties and seventies in its permanent collection. His work can be admired in museums throughout the world. Apart from furniture, he also designed interiors for the French presidents Pompidou and Mitterrand in the Elysée Palace in Paris. Pierre Paulin died on 13 June 2009 in a hospital in Montpellier (France). The French president Sarkozy honored him as “the man who made design an art”. In November 2009, Paulin was posthumously awarded the distinction of “Royal Designer for Industry” (RDI).

http://www.ftn-books.com has a very nice publication on Pierre Paulin available.

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13 sculptors from Paris…cat no 50

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Published within the Stedelijk Museum series with no. 50, designed by Willem Sandberg and with the “creme de la creme” of sculptors from France / Paris, this has arguably become one of the most important exhibitions and catalogues for the Stedelijk Museum from the Fifties. Within the catalogue you will encounter only the most famous of names. Here they are: Brancusi, Gonzales, Gargallo, Laurens, Arp, Chauvin, Zadkine, Lipchitz, Giacometti, Richier, Couturier and Auricoste. Another important aspect to this exhibition is the catalogue. It uses multiple kinds of brown and glossy papers, making this one of the first for a series of catalogues which were designed by Willem Sandberg in such a way for the Stedelijk Museum. This design was typical for Sandberg in the Fifties and he continued to use these papers throughout his career as a designer. Wim Crouwel broke with this tradition and presented a much cleaner, more contemporary design, but i admire these Sandberg catalogues and this is probably one of the very best and most important.

OLYMPUS DIGITAL CAMERA

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Ah Xian (1960)

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I am not the greatest fan of Chinese art, althought i have learned to appreciate some of the artists and their works. One of the last to admire was the artist Ah Xian whose works were exhibited in the “stijl zalen” of the Gemeentemuseum Den Haag. They blended like they were meant to have been made for this location. Specially the “GOUDLEER” and Chinese rooms were a feast to the eye. Now i have acquired the exhibition catalogue for this exhibition. It is the one that sold out almost instantly. available at www.ftn-books.com

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Chinese artist Ah Xian lives and works in Sydney where for nearly two decades he has explored aspects of the human form using ancient Chinese craft methods including porcelain, lacquer, jase, bronze, and even concrete. The artist often uses busts of his own family members including his wife, brother, and father onto which he imprints traditional designs with a vivid cobalt blue glaze. via Colossal.

ah xian

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Berend Strik (1960)

Berend Strik creates images with embroidery. Using thread and needle his images get an extra dimension, The result a strange picture of a realistic composition enhanced by an almost abstract image created with thread. Original , very personal and sometimes very explicit images occur. loo at the series CANDLE 1. 2 and 3 . And from a distance you see abstract elements but look closer you will see 3 explicit scenes. Strik is a highly original artist and i still feel regret of not having bought a nice embroidered “painting” when i had the chance a few years ago, but who knows what the future will bring.

Here follows the text from the Berend Strik site in which Rem Koolhaas commented on the works by Strik:

I don’t know quite why, but in this society at this point in time we are being urged to curb our enthusiasm. Enthusiasm creates vulnerability, it’s not cool and often seems rather ridiculous. Enthusiasm is a risk; you can get it completely wrong. But this afternoon I want to openly proclaim my enthusiasm for this new work by Berend Strik. I am fascinated by this work.
I won’t try to convince you; I just want to share with you why I am so enthusiastic. The painting is based on Strik’s photo of the floor in Jackson Pollock’s studio – part of a series of ‘artist’s studios’, all based in principle on an invasion of privacy. The floor is covered in smudge splashes. You can spot the outline of the canvases that once lay on the floor. Strik surreptitiously inserts his own work in that relatively clean, empty space. In this way, Strik introduces a new genre: the involuntary collaboration. It is a stroke of strategic genius, disguised as homage. Inserting yourself in a history that seemed to be closed…
Pollock was a real man in the days when white men were still popular. A carefully staged action painter. An artbeast.
His work appears macho but you can also see it as meticulous doodles, a tissue of threads made of ink and paint. Pollock’s surface is harmonious rather than wild – Berend isn’t wild either – so why does his combination have this strong conviction? Perhaps it is the planks that give this work its unique impact. Neither Pollock nor Strik – both really embroiderers – want to give their work visible structure but here the subdivision created by the planks has raised both to a more powerful level, given them more authority. It is time to take a fresh look at Berend Strik’s work – and eenwerk is a unique space – really a machine – that can function as a magnifying glass. See here the new Strik – a new force with new depths.
I hope you see what I see – in this unique one-off setup – and that your observation will have consequences for Strik’s future.

www.ftn-books.com has several titles on Strik of which the BODY ELECTRIC title is the most important one with an original embroidered cover

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Luciana Matalon (1937)

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Perhaps the true importance of Luciana Matalon is that she initiated the founding of an art space in Milano as a platform for young aspiring artist to have their first exhibitions.

http://www.fondazionematalon.org

Luciana Matalon was born in the Veneto region but moved to Milan where she made her debut in 1968. As a multifaceted artist she dedicated herself to painting, scuplture and the creation of jewellery.

Her artstic studies took place mainly at Milan’s Accademia di Brera and during periods spent in a variety of foreign countries. Since 1966 she has taken part in numerous exhibitions and has organized her own in Europe, America and Japan.

In 2000 the artist set up a self-titled foundation in Milan, where she aspired to create a new museum space to become an international crossroads of new ideas and new artistic orientations. Moreover, since 2006 she has been promoting the Premio Beniamino Matalon per le Arti Visive (Beniamino Matalon Prize for Visual Arts), which has a duration of two years, with the aim of stimulating artists under the age of 35 to produce work that is meaningful and worthy, whilst supporting them in their  path of artistic growth.

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http://www.ftn-books.com has the 1981 Matalon catalogue for her EP galerie presentation available.

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Jaroslawa Dankowa (1925-1999)

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Dankowa has made more than 400 sculptures, but will always be remembered for her masterpiece ” het INDISCH MONUMENT” , erected at the Prof Teldersweg in Den Haag. She was chosen among many with her design of a group of famished people who mourn and grieve, with in the background bars to symbolize the occupancy of the Indonesian people during WWII.

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The sculpture had to be finished before 1988 and it was because of this set date the pressure to finish and complete the sculpture was immense. While making the sculkpture she fell from a ladder, but despite breaking a hip during this fall, she finished in time and the sculpture has been since in the centre of the remembrance ceremony of the victims who were killed during WWII in Indonesia.

http://www.ftn-books.com has now a monograph on Dankowa available.

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