Dieter Mammel (1965) uses a special technique in his paintings. He paints with ink on raw canvas which is made wet, so that the colour runs out and branches whimsically. One can see clearly that the images have been painted from photographic examples. First, he used pictures from his own family album, which he later expanded with more general pictures from the 50’s and 60’s.
These Familienbilder (Family Works), almost all painted with green ink, are familiar and confronting at the same time, reminding of both childhood happiness and drama.
The Magenta Lovers series, is painted in red and have a warm, sensual atmosphere. Naked men and women lie on the bed lazily, or are entangled in a tight embrace. The recent Feeling Blue series show subjects of a more existential nature. By using restrained colours and his veiled way of painting Dieter Mammel touches upon the images we all carry with us in our memory. These are mental images that are shaped and coloured by the emotional meaning they have for us.
Guy Vandenbranden was an important artist of the Belgian post-war art scene, belonging to the second generation of Belgian constructivists. Following Piet Mondriaan and Victor Vasarely, he attained total geometrical abstraction.
Pieter Geraedts makes abstract geometric 3D art and I found that his works are part of the collection of practically all dutch modern art museums. His works are executed almost always in white and if one studies his work you can see that his works were well ahead of their time. They now prove to be timeless and Geraedts needs to be re-discovered again for his quality works of art.
www.ftn-books.com has the 1992 Geraedts publication from the Rijksmuseum Kroller MUller available.
There is areason why i used this portrait of Marcel Wanders by Erwin Olaf. Wanders is the man behind MOOOI and both Wanders and Olaf contributed multipel times to the MOOOI year publications. For the 2006 edition, Erwin Olaf was commissioned to make a series of photographs of which 14 were selected and published in this MOOOI 2006 book. Great designs, excellent designed book and 14 memorable Olaf photographs makes this a publication to collect.
Robin Rhode (1976) was born in Cape Town during the apartheid era and grew up in Johannesburg, where he attended the Technikon Witwatersrand (now the University of Johannesburg) and the South African School of Film, Television and Dramatic Art. In 2002, he moved to Berlin, where he continues to live and work. His work has been acquired by numerous collections, including those of the Centre Pompidou in Paris, the Museum of Modern Art (MoMA) in New York and Johannesburg Art Gallery in Johannesburg.
Over the past two decades, Robin has created an extensive and multi-faceted oeuvre with a strong individual signature. His work is playful and contains a wealth of references to music, poetry, art, and history. His oeuvre is characterised by a visual combination of street art, drawing, painting, sculpture, performance, film, and photography. His preferred materials are charcoal, chalk and paint and you can recognise his work by its simple and clear language of form. Over the years, Robin has transformed himself from a lone performer to the director of an artistic fellowship with whom he can realise more ambitious productions. While his artistic journey began in his homeland, South Africa, Robin and his interventions have since travelled to every corner of the globe.
www.ftn-books.com has the scarce first Rhode publication available. This publication was sponsored and partly funded by Marlene Dumas.
British conceptual artist Helen CHADWICK embraced the sensuous aspects of the natural world, breaking taboos of the ‘normal’ and ‘traditional’ in art historical pedagogy. Considered a ‘mother’ to the YBAs through her teaching posts at the Royal College of Art, Chelsea School of Art and the London Institute, her experiments with material were innovative and unconventional and captured a world in a state of flux. Piss Flowers (1991-92), in which she cast the interior spaces left in the snow by warm urine, are at once as repulsing as they are beautiful, and it this combination that typifies Chadwick’s work: aesthetic beauty created out of an alliance of unconventional, often vile, materials.
Chadwick was one of the first women artists to be nominated for the Turner Prize in 1987. www.ftn-books.com has the scarce Torch/Onrusta announcement for her Koln exhibition available.
Karel Dierickx is a Belgian artist who was born in Ghent in 1940 and died there in 2014. He was a painter, draftsman, sculptor and printmaker. Education at the Academy in Ghent, pupil of O. Landuyt at the Normal School in Ghent. First mention at the prize for Young Belgian Painting in 1962. Godecharle Prize in 1964. Usually starts from a vague landscape as an original motif. Due to an increasingly thorough abstraction of the motif and the simultaneous emphasis of the mood, this matter becomes an almost independent means of expression. The paint skin appears hurt and tense. From the press: “The painter calls himself a chaotic figure who is out to find plastic motifs and solutions, and then to break them down. And that is one of the characteristics of his work, which always starts from a realistic data – for example a still life, a landscape or a figure – but in which the figurative underlay is processed, processed and worked through until an apparently abstract composition remains” (LB ) and “His entire oeuvre is a gifted meditation on light and shadows. His canvases are pictorial ecstasies, paragons of spirituality.” Teacher at the Academy in Ghent. Work in the Museums in Ghent and Ostend.
www.ftn-books.com has some Dierrickx items currently available
Yesterday i received an email by the Marianne Boesky Gallery. Here is the text:
Jennifer Bartlett passed away on July 25, 2022 at the age of 81. Bartlett’s visually bold, intellectually rigorous works drew inspiration from Minimalism, Abstract Expressionism, and Conceptualism, sometimes deploying strategies from all three movements within a single work. Often grounded in precise mathematical abstractions, Bartlett’s paintings and room-sized installations constantly questioned the restrictions of the grids or constraints she herself had imposed, resulting in dynamic compositions with deep poetic and aesthetic resonance.
In 1968, Bartlett began working on the square steel plates on which she went on to create her most notable works. Rhapsody (1975-1976), a polyptych first installed at Paula Cooper Gallery filling the entirety of the gallery, included hundreds of these painted steel plates. That work is now part of the permanent collection of the Museum of Modern Art, New York. In 2018, Paula Cooper Gallery and Marianne Boesky Gallery took on shared representation of Jennifer Bartlett. We are grateful to Takaaki Matsumoto, David Lester, and Daniel Lipman of the Jennifer Bartlett Trust; to Jennifer’s studio manager, Joan LiPuma; to her daughter, Alice Carrière, and to her sister, Julie Matsumoto for their thoughtful and supportive collaboration during that time. “I have been honored to represent Jennifer and grateful for the opportunity to continue to shepherd her work forward in concert with the incredible team that has long surrounded her,” said Marianne Boesky.
Bartlett’s first survey exhibition was held in 1985 and traveled to the Walker Art Center, the Brooklyn Museum, and the Museum of Art, Carnegie Institute. In 2006, her early enameled steel plate paintings were surveyed at the Addison Gallery of American Art. Klaus Ottman curated her second traveling survey exhibition in 2013-14, Jennifer Bartlett: History of the Universe—Works 1970–2011, which traveled to the Pennsylvania Academy of the Fine Arts and the Parrish Art Museum. In 2014, the Cleveland Museum of Art exhibited all three of her monumental plate pieces, Rhapsody, Song, and Recitative in the exhibition Epic Systems. Bartlett’s works are in the collections of the Dallas Museum of Fine Arts, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art, the Tate Modern, and the Whitney Museum of American Art, among many others.
www.ftn-books.com has some of the famous Bartlett publications available
The exploration of the visible and making visible is the driving force in the work of Stefan Gritsch. In this context, painting is the conceptual point of departure for expanding the work to other genres – drawing, sculpture, photography, printmaking – and to find three-dimensional, installation-based as well as performative formulations for them.
Gritsch takes the principle of inversion
further, as the work takes on an additional dimension and, due to the enlargement, becomes physically experienceable. At the same time, he creates an intimate proximity to his primary material, acrylic paint. In Gritsch’s oeuvre of the early 1990s, the exploration of paint as material already took the form which is still relevant today. Ever since, a mass of acrylic paint modelled into new shapes and states serves as the basis for most of his three-dimensional works. In a process characterised.
www.ftn-books.com has one Gritsch title currently available
The departure point for Raúl Illarramendi’s work is the observation of “traces” left by human activity in the everyday urban milieu. Found on walls, sidewalks, gateways and doorways, these traces are photographed and chosen for their compositional and power to evoke. The artist thus accumulates a repertory of images that serve as inspiration for his compositions. Illarramendi applies coloured pencil on a canvas that has previously been prepared with gouache, a mixed technique that combines drawing with painting and vice versa. The artist conceives these works as non-drawings: The work is composed of lines that suddenly appear in the un-penciled spaces, thus revealing the foundation of the canvas. His series are all the product of a continuous reflection; the representation of a false hue, of a false fluidity, of a false rhythm and a false event.
Born in 1982 in Caracas, Venezuela, Raúl Illarramendi began his artistic training in 1998 as assistant to the painter Felix Perdomo. He then became a member of the Circulo de Dibujo of the Contemporary Art Museum of Caracas Sofia Imber. He followed studies in Visual Arts and Art History at the University of Southern Indiana in Evansville in the United States. He has won several art awards in the United States and France, the most recent of which being the Jean Chevalier Award for Painting in Lyon, which he received in 2012. Illarramendi lives and works in Méru, France.
www,ftn-books.com has now the Spirit Line publication by Karsten Greve available
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
