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Jörg Herold (1965)

Born in Leipzig in 1965, Jörg Herold pursued his studies in painting at both the Academy of Visual Arts Leipzig and the Kunsthochschule Weißensee in Berlin. Throughout his career, he has displayed his artwork in various solo exhibitions at museums and Kunstvereine. Noteworthy showcases include the Museum der bildenden Künste Leipzig in 1999, the Von der Heydt-Museum Wuppertal and the Staatlichen Museum Schwerin in 2000, and the Galerie der Stadt Wolfsburg and the Kunstverein Bielefeld in 2005. In 2005, the Städtische Galerie der Stadt Wolfsburg organized a solo exhibition dedicated to Jörg Herold in honor of being awarded the art prize “Junge Stadt sieht junge Kunst” (Young city sees young art), accompanied by an extensive monograph on his works.

Jörg Herold has also actively participated in numerous exhibitions both in Germany and internationally. Notable appearances include the Venice Biennale in Venedig (1995), documenta X in Kassel (1997), exhibitions focused on 40 years of video art at the Museum der bildenden Künste Leipzig, the ZKM Karlsruhe, and the Ludwig Forum Aachen (2006, 2009), as well as showcases in South Korea at the Seong-nam Art Center and the Berlinische Galerie (2012). In addition to his exhibitions, Jörg Herold has embarked on artistic endeavors in various countries such as Georgia, Japan, Southeast Asia, Iceland, and Ukraine among others.

www.ftn-books.com has the Herold 1999 for the Kunstpreis Leipzig now available.

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Carlos Manrique (1951)

This is what Manrique says about himself…..

A brief introduction to myself. Originally from Venezuela, I pursued my studies at Gristobal Roja Art School in Caracas when I was 17 years old. Following that, I had an amazing experience furthering my knowledge of art by working in studios with three artists – Régulo Perez, Carlos Cruz Diez, and Luis Gevara Moreno. Among my various projects, one particularly exciting opportunity was to travel with an interesting group of artists directed by Jacobo Borges to present “Vision of Venezuela” in Peru, three months before moving to Europe in 1977. It was during my journey through Italy, Great Britain, Belgium, Norway, and Austria that I found my creative inspiration in the city of Cologne, Germany, when I was 26 years old. I continued my studies in graphic design at the Cologne Art School, under the guidance of Professor Pravoslov Sovak, and completed my degree. My art combines influences from African and Latin American cultures, along with cultural influences from Germany, where I have resided for over 30 years.

I would like to express my gratitude to Germany and its people for giving me the opportunity to further develop myself in the field of art.

It is my honor to present my artwork to you, and I hope you enjoy them. Thank you for taking the time to view my works.

www.ftn-books.com has the Museum Bochum catalog now available.

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David Maxim (1945)

While the adjectives “heroic” and “theatrical” have been used to describe Maxim’s work, it is the way in which he portrays the human figure that takes center stage. Maxim’s non-representational, mixed media paintings, which are monumental in size, create a strong bodily presence. These paintings often incorporate 3-dimensional elements that reach out towards the viewer. In addition, Maxim’s mixed media paintings utilize mark making and shapes that dynamically suggest the gestures of the human body. For example, a simple combination of rectangles and spheres can hint at a reclining figure.

Furthermore, Maxim’s artwork includes several pieces that feature 3-dimensional figures extending from the canvas. These figures either crawl across the canvas or engage in a tug-of-war, resembling marionettes. They are presented in front of dramatically painted canvases that evoke an emotional response and resist being tied to a specific location. Although the setting for these figurative artworks, whether they are wall pieces or sculptures, remains a mystery to the viewer, Maxim’s knowledge of art history is evident in his work. For instance, his piece “Blind Leading the Blind” references the Flemish Renaissance painter Pieter Bruegel.

The figures, especially the anonymous and faceless ones that populate Maxim’s work, metaphorically represent philosophical notions of the human condition. Maxim consciously constructs situations that depict common struggles. In “The Elusive Thought,” a figure attempts to cast a net, though the target remains uncertain. In “A View of the World,” another figure looks up into space through a framed screen that limits their vision. Despite addressing struggles, Maxim’s work exudes a classical beauty that highlights our connections rather than our differences. It is this delicate balance between theatrical expressionism and conscious serenity that establishes Maxim as an artistic legend.

David Maxim’s work has been exhibited extensively in California, across the United States, and in Europe.

www.ftn-books.com has the UNSEEN PICTURES publication now available.

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Alexis Milne



An artist residing in London, dedicated to exploring the themes surrounding recent political protests and various forms of autonomous subcultural uprisings, such as Hip Hop and Rave cultures. My main focus revolves around the subsequent dissemination of these movements through media and the subsequent recuperation. Through my work, which encompasses video scratch collage, installations, and interventionist performances, I utilize alter egos, the grotesque, and cartoonist parody as powerful tools for commenting on the decline of authenticity, particularly in relation to riots transformed into spectacles.

The production of the video ‘Riot’ was born out of my experiences during the G20 demonstrations against the financial system in 2008, which took place at the prestigious Bank of England. It was during this time that the world economy began its descent into recession. The demonstration felt like an exaggerated, stadium-scale specter on a grand film set. Forward intelligence police units were closely monitoring and documenting activists who, in turn, documented the actions of the police. This endless cycle of impotent documentation, accompanied by the ominous drone of surveillance helicopters overhead, formed the backdrop for the events. ‘Riot’ delves into the historical and contemporary state of protest, representing the never-ending cycle of civil unrest experienced second-hand through the lens of the media. It reinforces the diffusion of aggression and passivity. The concept behind the video has evolved into largescale performance riots, such as ‘Chamber music for the disenfranchised’ and ‘Prague Uprising.’ These performances, set to a live punk soundtrack, aim to encourage assembled crowds to actively engage physically with footage of riots within the confines of an institutional location.

Following the completion of my Fine Arts MA at Goldsmiths, my video and performance piece, ‘Riot,’ gained recognition, and I was selected to participate in the European-wide Start Point prize. Eventually, I secured the overall prize in the Czech Republic at GASK, which led to my first solo exhibition at GAVU Cheb in 2011. Elizabeth Price, a prominent figure in the art world, selected my video work for the Selected Tour, which included a screening of ‘Jobseekers’ at the Whitechapel Gallery in 2012. My video work ‘The Delinquents’ was curated by renowned collage video artist George Barber for the Reality Check exhibition at the South London Gallery in 2012. Additionally, it was showcased at the Moscow International Biennale for Young Art in the same year. In 2013, I organized the video collage exhibition ‘Bunker Mentality’ in a disused World War II bunker, which featured ‘Riot Act SE6,’ a live performance reenactment based on Crimewatch footage from the 2011 London riots.

www.ftn-books.com has the 2011 galerie Vytvarneho now available.

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Henri Jacobs (1957)

Since 2003, Henri Jacobs has been engaged in an ongoing series of drawings. These drawings, known as the Journal Drawings, originated from a project he undertook as a teacher. In this project, Jacobs instructed his students to depict anything that had a significant impact on them or caught their attention throughout a given day. Inspired by this exercise, he adopted it as a method for his own artistic practice, resulting in an ongoing collection of drawings. Within this series, he explores different motifs and forms, continuously abandoning them to make room for new research and experimentation.

Jacobs’s drawings showcase a virtuosic technique, skillfully executed yet playful. The images range from abstract geometric shapes and patterns to stylized portraits, landscapes, and architectural forms. Frequent allusions to art history and renowned artists such as Matisse and Jasper Johns also appear. Essentially, the Journal Drawings serve as a continual process of creative exploration, as Henri Jacobs constantly challenges himself to redefine and reinvent his drawings.

www.ftn-books.com has the van Abbemuseum catalog designed by Arlette Brouwers now available.

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Thijs Rinsema (1877-1947)

Thijs Rinsema, a cobbler from Drachten, a town in the Frisian region, gained recognition as a prominent member of the famous art movement De Stijl. His work was displayed at the Centre Pompidou in Paris and the Tate Modern in London.

The Museum Drachten is hosting the first major retrospective exhibition of Thijs Rinsema’s (1877-1947) work. The exhibition also pays tribute to his equally exceptional brother, Evert Rinsema (1880-1958). Additionally, the Museum Belvédère in Heerenveen has a small exhibition featuring Thijs’ Stijl furniture pieces and some of his paintings.

These craftsmen are skilled in creating perfect pairs of shoes with a piece of leather, but they are also well-read and have an interest in philosophy and modern art. Thijs paints while Evert writes and, during his military service, gets to know the artist Theo van Doesburg. This encounter opens up a whole new world for the brothers.

Thijs is deeply moved by De Stijl and, in the early 1920s, transforms his shop and living room. To the amazement of the people of Drachten, these spaces are adorned with the primary colors of the art movement: white walls with yellow, red, and blue accents. It becomes an incredible sight to behold.

Rinsema is already painting at this time. He learns to paint by imitating medieval art as well as works by modern artists like Picasso and Kandinsky. Following Van Doesburg’s advice, he begins creating still lifes and portraits. “Family, neighbors, and acquaintances are all subject to his artistry,” writes Thijs Rinsema’s grandson in his study ‘Thijs and Evert Rinsema, Independent and Versatile’.

Posing for Thijs is a challenge. The cobbler-painter works slowly, and customers in the shop disrupt the process. “Naturally, they all found it quite peculiar in Drachten,” says Thijs’ grandson. However, the eccentric cobbler is unperturbed and enjoys his newfound status.

In 1923, the Dadaist Kurt Schwitters visits Drachten. Van Doesburg had written to him about two remarkable individuals in Friesland, which Schwitters finds fascinating. At the round table in the Stijl room, he creates collages with Thijs using newspaper clippings, leaves, and advertising materials. These collages, now worth a fortune, are displayed at the exhibition.

The pinnacle of their friendship is a gathering in 1923 in a hall at a local hotel. Schwitters performs and recites his poems, one of which is in the Frisian language. He also presents his famous sound-image poem with the lines: “We strive to remain w88888” (referring to the town name Dr8888 – Drachten). Thus, Drachten becomes forever connected to Dada.
www.ftn-books.com has 2 important publications on Rinsema now available.

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Lea Halpern (1901-1985)

Born in Poland in 1901, Lea Halpern (1901-85) was a potter who had the opportunity to pursue her studies in Berlin, Amsterdam, and Vienna. Upon arriving in New York City in 1939 to showcase her work, she decided to stay and settle in Baltimore. Unlike being recognized as a mere craftsman, Halpern saw herself and was seen as an artist, creating pottery pieces intended for visual appreciation rather than practical use. Her creations, named Stormy Sky, Drifting Clouds, Frozen Fire, and Tiger Lily, demonstrate a fusion of poetic and naturalistic elements, with evident inspiration from Asian culture. Although her mature works showcase an exceptional command over intricate reduction glazes, this impressive skill was attained through extensive hours of dedicated research and experimentation.

www.ftn-books.com has now the 1976 Baltimore Museum catalog available.

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Gustave Moreau (1826-1898)

I remember the year i was living in Paris to be filled with visiting museums. One of the first I visited was the Moreau Muzeum. I really do not know if it still the same venue. but I remember that I was impressed , pulling out large panels from the walls , filled with canvasses. Together with the Jeu de Paume and the Roding museum these are the museums I still remember very well and I was reminded of that visit when I listed the Stadsgalerij Heerlen catalog on Moreau, which is now available at www.ftn-books.com

Gustave Moreau, the French artist, gained his reputation as a painter of symbolic allegories. It was in 1864 at the Salon in Paris that Gustave Moreau first made a breakthrough with the painting ‘Oedipus and the Sphinx’. His most important works include ‘Salomé’ and ‘Saint Sebastian and the angels’.

Education
Born on April 6, 1826, in Paris, Gustave Moreau studied at the art academy in Paris and subsequently under Théodore Chassériau, a pupil of Jean-Auguste-Dominique Ingres, whose work is considered part of the romanticism movement.

Italy
Gustave Moreau made his debut at the Salon in Paris in 1852 with ‘Pieta Plaza’. This work clearly showed the influence of Théodore Chassériau and Eugène Delacroix. From 1857 to 1860, Moreau worked in Italy, where he studied the work of Andrea Mantegna, Benozzo Gozzoli, and Michelangelo. In 1881, he was commissioned to create illustrations for a collection of fables by Jean de la Fontaine. Moreau spent five years working on this project.

Mythology and Bible
Gustave Moreau painted a large series of artworks based on stories from mythology and the Bible. Towards the end of his life, he became a teacher at the art academy in Paris. Albert Marquet, Henri Matisse, and Georges Rouault were all students of Gustave Moreau at the École des Beaux-Arts.

Gustave Moreau passed away on April 18, 1898, in Paris. In his will, he left his house and studio along with all the artworks present there to the French state. His residence on Rue de La Rochefoucauld was opened to the public in 1903. The Musée Gustave-Moreau exhibits significant works by Gustave Moreau, such as ‘Jupiter and Semele’ (1895), ‘The Chimeras’ (1884), and ‘The Return of the Argonauts’ (1891-1897).

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Neil Wilkin (1959)

A lifetime dedicated to creation has been fueled by Neil Wilkin’s intense passion for the art of glassblowing and an unwavering appreciation for the beauty of the natural world and its varied formations. The seamless connection between these two elements lies at the heart of his artistic endeavors.

In Neil’s own words, “The very foundation of our surroundings, as shaped by the captivating geology beneath us, plays a paramount role in influencing the aesthetic and environmental aspects of our lives. Explorations across the vast landscapes of Madagascar and Australia, as well as the intricate terrain of the British Isles, have yielded an abundant source of inspiration; encompassing geological wonders and a multitude of stunning flora and fauna.”

Through the medium of glass and the intricate processes of its formation, Neil delves into an exploration and celebration of the extraordinary wealth of diversity that surrounds him, seeking to capture its essence in his work. The choice of colors, ranging from bold and vibrant to gentle and soft, allows for an absorbing and refracting of light, ultimately shaping both the physical and aesthetic aspects of his creations. In recent years, Neil has embarked on a new artistic journey, combining the optical properties of solid glass with the fluidity and richness of molten glass, resulting in a fresh perspective on his craft. Additionally, he ventures into the realm of stainless steel fabrication for the creation of large-scale, site-specific installations that seamlessly integrate both indoor and outdoor spaces.

www.ftn-books.com has the SEEDS CHANGE book from 2001 now available.

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Geert Mul (1965)

For more than 25 years, Geert Mul has been exploring the possibilities of incorporating poetry into the realm of new media. This exploration has led to the creation of a diverse range of experimental artworks including prints, light-objects, video installations, and interactive/generative computer installations. Mul’s works revolve around the interplay of technology, media, and perception, with a particular focus on engaging the wider public through commissioned artworks in public spaces.

Mul’s artistic journey began in 1985 when he studied art at the HKA Arnhem, specializing in computer animations, video, and kinetic sculptures. Following his studies, he embarked on a journey through Mexico, the United States, and Asia, eventually spending a year in Tokyo. Since 1993, Mul has made Rotterdam, Holland his home base for both living and working. In the mid-1990s, Mul made his mark as one of the pioneers in the field of VJing within the alternative Techno scene. These early endeavors gradually evolved into interactive audio-visual environments, commissioned artworks, and installations that have been showcased in various settings, including public spaces, museums, and festivals. Mul’s impressive body of work includes over 20 commissioned art installations, with exhibitions held at prestigious venues such as the Museum Boijmans van Beuningen in Rotterdam, the Stedelijk Museum in Amsterdam, the National Museum of Modern Art in Kyoto, Japan, the Museo Nacional Reina Sofia in Madrid, the Institute Valencia Arte Moderne, and the Museum of Contemporary Art in Chicago.

In addition to his artistic endeavors, Geert Mul also shares his expertise as a teacher, imparting knowledge and guiding young talents in the field of “Unstable Media” at the Gerrit Rietveld Academie.

www.ftn-books.com has the Witteveen + Boos publication now available