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Niels Helmink (1976)

This is what Helmink says on his own site about himself and his work:

I make photographs in order to create images that stick in your mind, to be able to show a situation as it is when I encounter it and to preserve it forever. What I record is the reality. My subjects must first of all be socially relevant, but they must also have an aesthetic function. In my work I investigate ostensible trivialities and cultural phenomena, both Dutch and foreign. What also interests me are trivialities and cultural phenomena which are slowly vanishing and becoming more and more unpopular. What is the social significance of the fact that certain situations are disappearing in our society? When is something no longer a part of our times? Where does the turning point lie? In my work I try, among other things, to find out where this turning point is (to my mind, at least).

Another major theme in my work is architecture. I particularly use architecture’s cultural and social significance, its function, as a decor for my subjects. In my opinion, society, people’s actions and architecture are inseparably connected with one another. A person is nothing without a space in which to live or to work, and the other way around, a space devoid of the people that are connected with it does not come alive.

Through my composition and execution, I enhance the aesthetic element that I see in the subject matter, showering the viewer with details and impressions through categorization and repetition. With the same elements repeatedly coming to the fore in each individual picture, the message becomes clearer. I systematically work out my subject matter, as Bernd and Hilla Becher did with their typologies of industry, in order to achieve a clear line in my method of presentation.

www.ftn-books.com has the SHOPKEEPERS book by Helmink now available

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Gjalt Blaauw (1945)

Gjalt Blaauw’s work is characterized by distinct forms and a poetic playfulness. His material of choice is steel, painted in cheerful colors or red-brown rusted, and stone. Despite the weight and solidity of the material, the sculptures exude a lightness in their essence. They often seem to flutter like a flag or flicker like a flame. Other works resemble a cloud or plume of smoke. With Narcissus, Blaauw even managed to suggest a rippling water surface with steel. Many of his works consist of two or more separate elements, arranged in a seemingly precarious composition. They give the impression of being constructed with an oversize set of building blocks rather than being the result of an artistic concept. Yet, it is precisely this direct and unpretentious nature that gives these sculptures their attraction.

GJALT BLAAUW (1945) was educated at the art academies of Leeuwarden, Arnhem, and Groningen. After graduating in 1969, he participated in over one hundred exhibitions both nationally and internationally, including ‘Op losse schroeven’ at the Stedelijk Museum Amsterdam (1969), ‘Lyrisch schetsboek voor de stad’ at the CBK Groningen (1994), and ‘Beelden op de Scheldeboulevard’ in Terneuzen (2012). He had solo presentations at the Fries Museum (1992) and around Borg Rusthoven in Wirdum (2005). For public spaces, Blaauw created the untitled sculptures for the Winschoterbrug in Winschoten (1989), the nature and recreation area Kardinge in Groningen (1999), and Park Sijtwende in Leidschendam-Voorburg (2010).

Gjalt Blaauw currently resides and works in Groningen.

www.ftn-books.com has several Gjalt Blaauw publications now available.

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Carlos Blaaker (1961)

Carlos Blaaker is a visual artist who works in a contemporary narrative style, blending painting and sculpture to create a three-dimensional experience. Originally from Suriname and later residing in the Netherlands (Rotterdam), he eventually settled in Curaçao in 2009 to focus on creating bronze, polyurethane, steel, polyester, and wood sculptures. His ultimate goal is to bridge the gap between painting and sculpture, elevating the status of his creations.

Through his art, Blaaker aims to tell a story, often depicting ordinary people from his surroundings. His muses are the people he sees every day in his community: individuals from the LGBTQI+ community, immigrants, and the homeless. These recognizable and relatable types can be found all around the world. But beyond their literal representation, there is a deeper story within the context in which they are placed. This adds a layer of complexity and meaning to the pieces, leaving interpretation up to the viewer. As the artist himself explains, “I am a storyteller through my work.” By bringing attention to the “invisible” members of society, Blaaker’s art challenges and critiques the world we live in.

www.ftn-books.com has the galerie 21 publication now available.

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Jan de Cock (1976)

While enrolled at the Royal Academy of Fine Arts in Ghent, in the 3D Multimedia department, he presents himself as a self-taught artist.

He conceives and actualizes projects comprised of multiple “figures”, with parts that can be reused in future works. The large modules made of raw wood (particle board) resemble architectural models, as used by architects. These installations possess an unfinished quality that impressively transforms the surrounding space. The viewer is compelled to position themselves in relation to the installation, sit or move around it. Hence, the artwork exists in the interaction between space, the piece itself, and the viewer. He refers to his particle board sculptures as “Denkmal”, with a house number on the back. The German word “Denkmal” means “monument”, while in Dutch it means “a form of thinking”. This is how the artist aims to reform reality, challenging the viewer’s way of thinking.

It is, in its own way, connected to the tradition of Futurist Boccioni and the rigid geometry of Modernism. He is also fascinated by the architecture of Mies van der Rohe and the highly engaged work of sculptor Constantin Meunier. Additionally, he has been influenced by Constructivism and, more recently, by the Minimalism of Donald Judd and the conceptual work of Dan Graham. In his pieces, he blends painting and cinematic references, such as those to Jean-Luc Godard. English art historian Jon Wood places it in the tradition of the modern sculpting studio, yet simultaneously identifies it as unique to contemporary studios, where people and ideas are blended. This is far more complex than traditional workshops of the past.

www.ftn-books.com has the scarce RANDSCHADE publication now available.

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Gerhard Lentink (1956)

Gerhard Lentink (1956) could be described as both an artist and a mathematician. After completing his Gymnasium-B education, he studied at the Academy of Fine Arts Sint Joost in Breda. Lentink is a globetrotter, with extended stays in Mali and the Ivory Coast before settling in Dordrecht in 1982. His body of work is characterized by grand wooden sculptures, often centered on classical or poetic themes. With utmost precision, he translates his ideas into design drawings, which he later reads from the paper as he begins constructing his pieces. Lentink possesses a vast knowledge of (art)history and culture, which he expertly weaves into his monumental sculptures in a poetic and tender manner.

www.ftn-books.com has several titles on Lentink now available.

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Cornel Bierens (1949)

Cornel Bierens, born in 1949, is both a visual artist and a writer. He obtained a degree in clinical psychology from Utrecht University and studied art at the Artibus Academy in Utrecht (now known as HKU, he dropped out prematurely) and the Gerrit Rietveld Academy in Amsterdam (also dropping out prematurely).

Bierens’ artistic development has evolved from being a painter and draftsman to a creator of large installations, often utilizing techniques such as anamorphosis and mosaic. he is assisted by a rotating team of collaborators, with Dick and Margo van Berkum being the permanent members.

He has published art criticism and columns in various publications, including Metropolis M, NRC-Handelsblad, De Witte Raaf, De Groene Amsterdammer, and Het Financieele Dagblad. He has also written fiction, often with visual art as its theme, including “Schildpad met Roos en Mes,” a young adult novel. His most recent book is “De handgezaagde ziel,” exploring the revival of craftsmanship in art and its surroundings.

Over the years, he has been a guest lecturer at nearly every Dutch academy for visual arts, and has held long-term teaching positions at the Gerrit Rietveld Academy in Amsterdam, the Academy for Popular Culture in Leeuwarden, the Free Academy/Gemak in The Hague, and the Design Academy Eindhoven. He was a member of the jury for the Witteveen+Bos Art and Technology Prize from 2001 to 2008. In 2015 and 2016, he curated three exhibitions on Vincent van Gogh with contemporary artists, respectively at Arti en Reuten in Amsterdam (two-dimensional) and at MOTI in Breda (three-dimensional).

www.ftn-books.com has now the Mondriaan Fonds publication available.

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Louis C. Kalff (1897-1976)

Louis C. Kalff (1897-1976) was a designer and art director at Philips for advertising, products, exhibitions, and stands, as well as being an architect. Growing up in a prosperous environment in Amsterdam, his father was a lawyer who later became a journalist and the art and editor-in-chief for the Algemeen Handelsblad. Kalff attended HBS and the Quellinusschool for a year before studying architecture in Delft in 1916. During his studies, he designed posters, banners, and costumes for student celebrations. In 1923, he completed an internship with architect D.F. Slothouwer.

Kalff applied to work at Philips through a letter, stating that the company’s advertising was not modern enough and lacked “standing.” In 1925, he was put in charge of the commercial and artistic propaganda departments. In articles and memoirs, Kalff claimed that he wanted to standardize the Philips brand and emphasized the unity and international aspect of the company’s image. He also designed products, stands, exhibitions, and light shows for Philips. In 1929, he became the head of the so-called Light Advisory Bureau, and in 1946, he was appointed as the art director. In that same year, he advocated for a central design department that would also conduct research. However, it was not until 1954 that such a department was established under his successor R. Veersema.

In 1958, Kalff worked with Le Corbusier and composer Edgar Varèse on the Philipspaviljoen for the World Fair in Brussels, where their Poème Électronique was performed. In 1966, he designed the Evoluon, a technology center in Eindhoven. Kalff also built several villas, gave lectures, and was involved with the KIO and the Eindhoven Academy for Industrial Design. In 1941, he wrote the book Kunstlicht en architectuur (Artificial Light and Architecture).

www.ftn-books.com has the book on Kalff by van Dam now available.

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Anton Pieck ( continued )

Many of my customers collect Anton Pieck for nostalgic reasons, but this collection of books i added to my inventory today shows that the quality of Anton Pieck his illustrations goes beyond nostalgia.

Today i bought a small collection of Anton Pieck titles from an avid collector who kept these books in pristine condition. All but one are in MINT condition. And the illustrator book still qualifies as MINT minus.For those who want one of these to their personal collection contact me for full information and price.

www.ftn-books.com

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Carl Andre , one of the last true original minimal artists .(1935- 2024)

The year 1988, the Haags Gemerentemuseum organized , together with the van Abbermuseum , the largest of Carl Andre exhibitions. It included sculptures, drawings , multiples and Andre was set to open the exhibition , but he could not…. he was accusedf fort murder on his wife and could therefore not travel. So i missed to meet one of the artists i truly admired and still admire. Carl Andre will prove to be one of the most influential of all 20th century artists and will be missed.

Carl George Andre was welcomed into the world on September 16, 1935, in Quincy, Massachusetts, as the youngest of three siblings. His father, George, an immigrant from Sweden, taught himself English and pursued a career as a naval draftsman, focusing on creating freshwater plumbing systems for ships. In addition, he was an avid amateur woodworker, and his basement workshop became a favorite place for young Carl to explore his creativity. His mother, Margaret (Johnson) Andre, was an office manager but later dedicated her time to managing the family’s household.

Carl attended the prestigious Phillips Academy in Andover, Massachusetts, and briefly studied poetry under John Crowe Ransom at Kenyon College in Ohio.

His surviving family members include his fourth wife, Melissa Kretschmer, and his sister, Carol. He spent most of his life in Lower Manhattan.

www.ftn-books.com has some of the most im,portant Carl Andre publicvsations still available.

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Roger Vivier (1907-1998)

Roger Vivier, also known as the Fabergé of footwear, was born in 1907. He was a true master in his craft, creating shoes that were a fusion of function and artistry. His unrivaled talent led him to begin his sculpture studies in 1924 at the Paris School of Fine Arts. However, he soon abandoned this path to pursue shoemaking and start an apprenticeship.

With a deep-rooted fascination for the world of theatre and music halls, Vivier also dabbled in stage design. It was during one such occasion backstage that he had the pleasure of meeting renowned performers Josephine Baker and Mistinguett. Intrigued by their individual styles and needs, Vivier began creating custom-made shoes for them.

In 1937, following the overwhelming success of his footwear creations, Vivier opened his first boutique on the fashionable rue Royale in Paris. He quickly became renowned for his expertise in heels – the Aiguille stiletto, first launched in 1954, and the sinuous Virgule heel, considered the manifesto of his eponymous label since 1963. Vivier’s passion for feminine elegance and his innate ability to transform shoes into works of art earned him a well-deserved place as a master artisan, collaborating with celebrated French embroidery houses.

His designs caught the attention of exceptional women, with Queen Elizabeth II donning a pair of his shoes on her coronation day in 1953. Vivier’s acclaimed creations were sought after by the most prominent personalities of his time: the Duchess of Windsor, Princess Soraya of Iran, Hollywood icons Marlene Dietrich and Elizabeth Taylor, and French star Brigitte Bardot. One of his most iconic designs, featuring a silver buckle, made its first appearance in the film “Belle de Jour” on actress Catherine Deneuve.

Roger Vivier’s legacy lives on, with his masterpieces continuing to inspire and adorn the feet of women across the globe. His name will forever be associated with impeccable craftsmanship, unparalleled elegance, and timeless sophistication.

www.ftn-books.com has now 2 titles on Vivier available.