Yesterdays blog was on the “OP LOSSE SCHROEVEN” exhibition. A breathtraking and important exhibition on Conceptual Art at the Stedelijk Museum. Poster and catalogue design by Wim Crouwel and while preparing the blog i found a page in the book IN AND OUT of AMSTERDAM ( also available at www.ftn-books.com ) which explains the story of the exhibition and even mentiones the poster by Wim Crouwel.
From the beginning of her career, Rini Hurkmans is concerned with topics such as absence, loss, disruption, alienation and the related concepts of safety, security, identity and compassion.
This can be perceived in the photo series Pietà, in the films Dear Son, The Flavor of Salt and Don Quixote but also in the sculptures The White Shroud and The Inner Garden.
Life, art and politics are intertwined in a continuous dialogue and each specific period requires its own thoughts, strategies and forms. Hurkmans initiated the conceptual artwork Flag of Compassion in 2002 out of the desire to go beyond the framework of cultural consensus and consumption. Since 2008, she is an advisor to the Unda Foundation, the foundation that manages the artwork and also organizes a series of
Making Waves events around themes related to Flag of Compassion. By engaging with the Flag, it is investigated how a work of art can activate ethical questions in society and how it can function both within the arts and in society. Hurkmans is the driving force behind the book Compassion. A Paradox in Art and Society (Valiz, 2017) in which Flag of Compassion is discussed as a case study.
She is currently conducting further research into the concept of loss in relation to ethics and politics and is developing new work based on her working period as Artist in Residence at the Royal Netherlands Institute in Rome in 2019. Her research into the press photo she bought in 1992, and which inspires her work ever since, of the moment Michelangelo’s Pietà was attacked in 1972, serves as the starting point for the work in progress.
Undoubtedly Marlene Dumas has proven to be one of the leading artists from last and this century. Always surprising original and highly recognizable. I always have admired her and i am still adding publications on her to my inventory. Last addition is the exhibition catalogue for the Cabinet at the Centre Pompidou in 2002. Beautiful and sparkling publication ands now available at http://www.ftn-books.com.
Readers know and read that i was not very enthousiastic about the presentations of the Stedelijk Museum during our last visits. Very little that was appealing and lacking all the quality the Stedelijk Museum is famous for.
Last week we visited the Stedelijk again and what a difference. This was an excellent presentation/exhibition with all the art the Stedelijk Museum is famous for and with some great additions. the Bruce Nauman exhibition itself was well worth visiting, but what pleased me the most was the way some of the highlights from the collection were put together on show in BASE 1 and BASE 2.
A true feast and the only part i thought was not there was some of the Minimal Art from the collection.
The first picture is the one on the Wim Crouwel publications the Stedelijk commissioned during the Sixties and Seventies. Recognized as top quality design and becominmg more and more important as part of the collection. many of these publications are also available at http://www.ftn-books.com.
I proud myself in having one of the largest Stedelijk Museum Amsterdam collections available for sale on the internte and i just added a extremely scarce item i want to share with you. I always was under the impression that from the mid Seventies the larger museums in the Netherlands started their educational programs to attract the young and school pupils to the museums.
I was wrong….
Recently i discovered in one of the 1960 catalogues a folder which was added which shows that the Stedelijk Musdeum had its own educational program in 1960. The 6 page folder, probably designed by Willem Sandberg shows an event specially organized for the very young to come to the museum and have fun. An “art” party for the young organized by the STEDELIJK in which childeren of all ages were entertained and encouraged to practisize their own art. A great and important collectable item available at www.ftn-books.com
I have always taken great interest in the works by jean Dubuffet.
A few years ago i was ver impressed with a small exhibit of paintings that were on show in the permanent collection of the Musee des Art Decoratifs in Paris. At the time we visited with David and Monica the Chtchoukine collection at the Fondation Vuitton and seeing the Dubuffets was certainly one of the artistic highlights of the trip. I was delighted to encounter what is (arguably) the best exhibition catalogue on Dubuffet ever.
It is a combined effort of the three venues that all had the same show with works by Jean Dubuffet. The three venues were Akademie der Kunste in Berlin, Museum Moderner Kunst in Vienna and the Josef Haubrich-Kunsthalle in Köln. The three combined publihed one of the most impressive and important catalogues with an exhibition ever. 428 pages filled with impressive and important Dubuffet works of Art. This cataloguefrom 1980 is now available at www.ftn-books.com
This an artist for the future and at this time still affordable and a great investment.
Reinhoud D’haese’s works were primarily surrealist outputs depicting small-scale figures performing various activities; Le Contramaitre is just one of the many quirky figures created and exhibited.
Initially, his preferred material was copper, but he eventually went on to explore and create with a variety of other materials throughout his career, namely pewter and glass. D’haese met Pierre Alechinsky in the early 50’s and subsequently displayed a lot of his works . Both had an iconic exhibition at the Stedelijk Museum Amsterdam, which catalogue is still one of my personal favorites.
What makes the works special for me and it is the reason i think his art will be of great artistic and financial valu in the future is that Reinhoud walks the road between surrealism and abstraction, making his art related to Alechinsky but also to Andre Breton.
His saculptures are unique creatures and put together are part of the typical Reinhold world.
Another great set andn this time both poster and catalogue look almost identical (1970). Both are great simplistic in their designs , but strong in their appearance and they immediately draw your attention.
The Concrete poetry is one of my personal favorit publications and i like the poster as well. Both are availabel at www.ftn-books.com
It has been almost 50 years ago that the Stedelijk Museum presented dutch graphic artist Nono Reinhold for the first time. She has never become a “household’ name among dutch graphic artists, but now is the time to recognize the importance of Reinhold . Her works , inventive techniques and place among the arists of her generation , shows that she is important. the Teylers Museum adn Stedelijk Museum Amsterdam have an important collection of her works , which is occasionally on show. When you first see her works the immediate association is the liquid slides from the SIXTIES, with one difference. slides are random, but these compositions and colors are intentional. Until 10 years ago i never had heard of the artists but since i grew my inventory i encountered several books on Reinhold ( availabel at http://www.ftn-books.com ) and i started to like her works. May be it is time for you to discover Nono reinhold at this moment too.
There is a reason for using the above photograph in which Marlene Dumas stands next to Rene Daniëls. The iconic book for her first major museum exhibition was published by the van Abbemuseum and dedicated to René Daniëls, who had a cerebral haemorrhage in 1987. They boht attended Ateliers ’63 , but did not study in the same period, but after their studies they met at several exhibitions in which they were presented as young promissing artists from the Ateliers ’63.
After they met at the Stedelijk Museum exhibition they became friends and had several (group) exhibitions together.
With the painting “De gele vingers van de kunstenaar”, she had already begun to establish herself as a promising young artist. Born in Cape Town, South Africa, in 1953, she had moved to the Netherlands to study at the independent art school Ateliers ’63 in Haarlem, near Amsterdam, from 1976 to 1978. Founded in 1963, the institute is now known as De Ateliers and located in Amsterdam. In 1978, at merely 25 years of age, Dumas exhibited her work for the first time as part of the group exhibition Atelier 15 (10 Young Artists) at the Stedelijk Museum in Amsterdam and in 1982 participated in Documenta 7.
Painted in 1985, De gele vingers van de kunstenaar belongs to the breakthrough body of work The Eyes of the Night Creatures that Dumas created after a five-year hiatus from painting, during which time she had primarily created works on paper. While her drawings oeuvre had been already been subject to her first museum solo exhibition at the Centraal Museum Utrecht in 1984, the debut of this series at Galerie Paul Andriesse in Amsterdam in 1985 marked the triumphant return to painting and figuration in Dumas’ practice and signaled the emergence of what would become one of the most daring and influential figurative contemporary painters.
Invitation for Galerie Paul Andriesse, Marlene Dumas, The Eyes of the Night Creatures, 1985
Many of the works from the series now reside in public collections, including the Stedelijk Museum, Amsterdam, the Van Abbemuseum, Eindhoven, the Museum voor Moderne Kunst, Arnhem, the Art Institute of Chicago and the Centraal Museum Utrecht.
Installation view of The Eyes of the Night Creatures series in Marlene Dumas, Image as Burden, Tate Modern, London, 2015
It is important to remember that the art world in Amsterdam at the time was very small, with only two major contemporary art galleries and many of the artists, gallerists, critics and curators knowing each other very well. Recalling the great lineage of French Impressionist bourgeois café scenes, De gele vingers van de kunstenaar captures a late night art world gathering of friends that smoke, drink and talk.
The diptych is indeed based on photographs that Dumas took during nights out with her friends in Amsterdam. On the left, eminent artist and close friend René Daniëls is depicted holding a cigarette with yellow fingers, evocative of fresh paint, but also the staining that occurs from extensive smoking — hence the corresponding title.
De gele vingers van de kunstenaar speaks to a particular moment in time in which Dumas and René Daniëls were on the rise as the most promising young painters in the Netherlands. While Dumas and Daniëls did not overlap in their studies at Ateliers ’63, they had notably been included in the 1978 Stedelijk Museum group exhibition Atelier 15 (10 Young Artists).
The catalogue MISS INTERPRETED which is now available at www.ftn-books.com honours this friendship and the appreciation of Daniels his art by Marlene Dumas.
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