Over a period of over 30 years i encountered the works by Evren on and off. The first time was at an exhibition in Den Haag (HCAK ? )in which he showed his enamelled compositions. This was new ….this was exciting and i started following his career. Prices at that time were far too high to collect, but a year ago there was a enamelled shield, but unfortunately damages and not worth collecting. Now i am still waiting to find a work by Evren which is undamaged, but for now i am selling the Evren catalogue that was published at galerie Smits in 2007, which was the only Evrenb i could acquire last year.
There are a few iconic travel posters that always surface when people are decorating their homes. Many by Cassandre. But the one I am selling now at www.ftn-books.com is one of my personal favorites.
This one is from a painting by Kees van Dongen who depicted the Le Bar du Soleit at the Deauville beach. It has everything. Great art, atmosphere and really wants you to go there and have a drink on the beach.
Ton Frenken (1930-2004) studied law and cultural history at the Catholic University of Nijmegen from 1948 to 1954. Between 1951 and 1954 he took lessons at the Academy of Industrial Design in Eindhoven and the Jan Eyck Academy in Maastricht. From 1955 he worked as a painter and artist. Recognition of his work soon followed when he received the Willink van Collen Prize in 1956 and in 1959 the Royal Grant for Free Painting.
In addition to his work as an artist, Ton Frenken was very active in Noord-Brabant art life. For more than 25 years he wrote art reviews for the Brabants Dagblad, the Nieuwe Eindhovense Courant and Ons Erfdeel. Name and fame fell to him as the initiator and organizer of the large Jeroen Bosch exhibition in 1967. Between 1970 and 1986 he was director of the Cultural Council of Noord-Brabant and a teacher at the Royal Academy of Art and Design in Den Bosch. Between 1987 and 2004 he lived and worked successively for longer periods in Antwerp, Paris and Utrecht. Between 2000 and 2003 he was Director of the Jeroen Bosch Center foundation. After his death in 2008 in Den Bosch in memory of Ton Frenken’s great achievements in the field of Art and Culture in North Brabant, a bust was unveiled on the forecourt of the old Jacobskerk, in which the Noordbrabants Museum was once located.
www.ftn-books.com has several titles on Frenken available. ao the Nijmeegs Museum 1986 catalogue
It nmis only about 12 years ago that i first encountered multiple works by Gust Romijn. It was at Klasema Art who had a special on the artist right after his death. It struck me that i never had seen his paintings before, but now that i had i never fogot the. Wild, expressionist paintings and some of outstanding quality. As i always say ….the kind of art i like…..
The life and work of Gust Romijn. Passion for every period
‘They said that I jumped from one subject to another. Said that you must have a “trademark “ as an artist, you had to see who the maker was. I always laughed loudly about that. They didn’t always know how to deal with me or place me, shocked at every exhibition. Each time it was a blow and that wasn’t often dealt out here. But I was never afraid. Variability is part of me. I personally think I have a very changeable nature. I’m a little bit of enormous this and enormous that, mountains and valleys. Always was. Rather difficult for your environment I think.’
Gust Romijn is an artist continuously inspired by life itself, art and his surroundings. During an active period of more than sixty years he always engrossed himself in his own way in current art trends. If he is thereby grabbed by new styles or subjects these get his full attention and the previous ones are left behind. The criticism that often befalls him regarding his sometimes erratic style development in his oeuvre doesn’t bother him. He speaks , among other things, of his lyrical, wild and thoughtful years in which time and again he internalized new forms of expression and techniques. Investigations in space and on the flat surface, sometimes figurative but mostly abstract, whereby alternating organic and taut forms predominate. Within these extended periods he always works on what he terms ‘items’, series of drawings, graphic work, paintings or sculptures in which a specific topic is worked out. In a period ranging from a few weeks to months he is immersed in a particular stylistic or substantive theme and only stops when he has completely mastered it. After such an intensive work period he distances himself from his work and studio. However it never lasts long before he goes to work again with a new series, completely different or yet again reverting back to the preceding works.
Regardless of the view that critics of his work have, appreciation is often expressed for his diligence and decisiveness. Romijn is a getter type ‘don’t talk but do’. This applies not only for his own artwork but also for the numerous commissions he realizes, his teaching positions and his work as designer for international festivals. Romijn’s oeuvre is not only versatile but also very extensive. His work and personality color the Rotterdam art world in the years forty, fifty, sixty and seventy. Then he settles in Zeeland. His life and work show his character, his humor, his penchant for large and lots, always new forms of expression, sometimes thoughtful but often vehement. He compares his work as an artist with that of an explorer, someone who is always looking for new impressions. There are periods in which he actually travels a lot. But he also makes discoveries in his vicinity and in his extensive collection of books on art and culture.
This publication describes the personal story of an artist’s life, the various aspects of the work of Romijn and the context in which it came into being. Also the manner in which he gave form and shape in his teaching positions and activities for Poetry International and Film International Rotterdam are discussed. The biographical texts are based on the stories of Gust and the memories of Marianne Kleijwegt, with whom he lived from 1982, written in 2011. These texts are supplemented with information from his extensive archive, interviews and secondary sources. From different periods of his oeuvre works are highlighted, which provide an overview of the variety of styles and techniques Romijn applied en route in his exploration trip through art and in art.
Not much info, except for exhibition venues in the Netherlands ( KETEL factory). But a very nice catalogue which i recently discovered ( available at www.ftn-books.com). Winnie Techmacher choose see through pages in the catalogue to emphasise her beautiful glas object and sculptures.
From 1982-1984,Winnie Teschmacher studied at Academy of Fine Arts in Rotterdam, Sculpture. In 1983, she owned a glass studio in The Hague. From 1989-1993, she was a Freelance designer Unica, Royal Leerdam glassworks. From 1989-present, she is working for glass artists in the Czech Republic and Slovakia. In 199, she had a scholarship to the Pilchuck Glass School in Seattle, Washington.
To be honest….this artist was completely new to me. Learned that he lives and works in Paris , but is dutch born. Het tells complete stories in his drawings and paintings and one has to really study these closely to discover their meaning. The catalogue i discovered is excellent and published by the galerie Polaris in 2016
Graduated from the Willem de Kooning Academy in Rotterdam, he lives and works in Paris.
If a big part of Marcos Carrasquer’s works fascinates, , it is due to a strong originality, graphic as pictorial, but also to an overflowing imagination, on the strangest and most ironic representations of the contemporary History.
Marcos Carrasquer show us, not without a lot of humor our own incredulity in the face of our contemporary history.
Here the artist neither is an archivist, nor documents the history. He seizes and accumulates, without any limit, references of the contemporary History and those of his family, but without ever falling in the satire, and imagine when the collective madness seizes the man, another more optimistic end is still possible.
If the stupidity of the man is underlined, the nonsense of the scenes, creative, and stimulating, also comes along with a world of animals (moles, rhinoceros, mouses, warms, monkeys…), having all a function and a role to play in the drawing or the painting, sending back like a mirror to the defects of the men with a very asserted irony.
And if it is difficult for us spectator to master in the first look, all this multitude of elements which are linked some with the others to create together other forms, we can recognize in this work an extraordinary imagination accompanied by a total and incredible control of the drawing.
The risk of the obsessional is always avoided, by a balance of the composition, up to the slightest detail, as the wallpaper that we guess behind a crowd of objects, themselves behind a crowd of characters, this interweaving of elements, this visual maelstrom can only delight our retina.
And it is through the numerous subjects approached and crossed by the artist, that the relevance of this work sends back to a certain jubilation of the spectator.
The following text comes from the TATE modern site:
In 1963 Durham’s strong interest in the civil rights movement led him into performance, theatre and literature. Encouraged by the African American playwright and Pulitzer Prize winner Vivian Ayers, Durham held his first performance at the Arena Theatre in Houston in 1963. He also started to publish poetry in progressive magazines and alternative newspapers. After these first forays into the arts Durham enrolled at the University of Texas in Austin, where he exhibited his work in 1965. Hemoved to Geneva in 1969 and enrolled at the École nationale supérieure des beaux-arts, where he focused on performance and abstract sculpture.
In 1973 Durham moved back to the US and became a full-time organiser for the American Indian Movement and, a year later, a member of its Central Council. In 1974 Durham was appointed Executive Director of the newly established International Indian Treaty Council and moved to New York. From 1975 to 1980 he was co-editor of the Council’s monthly newspaper, the Treaty Council News. He also served as the representative of Treaty Council at the United Nations.
In 1980 Durham left the American Indian Movement and the International Indian Treaty Council and returned to his artistic practice. In the early 1980s he was Director of the Foundation for the Community of Artists in New York and editor of its monthly publication, Art and Artists Newspaper (formerly Artworkers News).In 1983 he published a book of poems, Columbus Day, with West End Press. In an article in Art in America in 1993 the art critic Lucy Lippard wrote of Durham’s work, ‘[T]hrough punning titles and contemporary details like discarded car parts, hardware, plastic toys, a police barrier or quotations from [post-colonial philosopher] Frantz Fanon, the sculptures break through the Western time frame that is supposed to confine them.’1
In 1987 Durham moved to Cuernavaca, Mexico, where he lived with his partner, artist Maria Thereza Alves. Over the next few years he showed his work frequently in both solo exhibitions (including a travelling show at Exit Art, New York in 1989) and group exhibitions, such as documenta IX in Kassel in 1992 and the Whitney Biennial in New York in 1993. Durham’s concerns about the rights of American Indians and colonialism remained an important aspect of his thinking and were reflected in his published writings, for example, in Artforum, Third Text, New Observations and Art Journal. In 1993 a compendium of his essays, A Certain Lack of Coherence, was published by Kala Press. A second volume of Durham’s writings, Jimmie Durham: Waiting to be Interrupted. Selected Writings 1993–2012, was published by the Museum of Contemporary Art, Antwerp and Mousse Publishing in 2014.
Durham’s practice incorporated a range of media and processes such as sculptural assemblage, painting, drawing, collage, printmaking, photography, video, performance and poetry. His art and writing in the 1980s and early 1990s sought to undermine mainstream imagery and narratives about Native Americans through ironic subversion. In essays such as ‘The Ground Has Been Covered’, published in Artforum in 1988, Durham argued that the oppression and misrepresentation of Native Americans was a fundamental reality of the US national project that needed to be challenged and undermined. Durham continued to use in his artworks whatever materials were near to hand and accessible, including stone, wood and animal bones and hides, alongside car parts, plastic and metal pipe, glass and other detritus of the modern world.
In 1994 Durham returned to Europe and remained there for the rest of his life, living and working in several different cities including Dublin, Rome and Berlin. In Europe his work often focused on the deconstruction of national identities and an analysis of the narratives, architecture and monuments relating to them. In a 2017 interview Durham described his approach to national identity in the following way:
I did leave home deliberately and have been accused of not being part of any Indian community, and that’s certainly a correct accusation. I’m not, don’t want to be. But I think when I came to Europe this time, in ’94, I stopped being any special kind of human being … I could never be any nationality, not of the Cherokee nation or any other nation … These days, it sounds stupid to say I’m a citizen of the world. I don’t think I am a citizen, I think I’m a homeless person in the world, and I like to be that way.2
Durham’s work has been shown widely in Europe, as well as in numerous international exhibitions and biennials, such as the Gwangju Biennial in 2004, the Venice Biennale in 2001, 2003, 2005 and 2011, and documenta in Kassel in 1992 and 2012. In 2005 Durham co-curated, with Richard William Hill, The American West at Compton Verney in Warwickshire, an exhibition that challenged the myths arising from the European expansion across North America. There have been several large, monographic exhibitions of Durham’s work, including From the West Pacific to the East Atlantic at the Musée d’art contemporaine, Marseille and GEM in The Hague in 2003, and Pierres rejetés at the Musée d’Art Moderne de la Ville de Paris in 2009. In 2012 MuHKA in Antwerp exhibited a career retrospective, A Matter of Life and Death and Singing. Further important solo exhibitions were staged at Portikus, Frankfurt (2010), at Neuer Berliner Kunstverein, Berlin and at the Serpentine Gallery, London (both 2015). Durham received the Goslarer Kaiserring, a major international prize for contemporary art, in 2016, and was awarded the 2017 Robert Rauschenberg Award. In 2017 Durham also had his first solo show in the United States for over two decades: the survey exhibition Jimmie Durham: At the Center of the World, which was organised by the Hammer Museum, Los Angeles and travelled to museums across North America.
www.ftn-books.com has one title with a contribution by Jimmy Durham available.
In her work, Lili Dujourie expresses an imagery that delves into the beauty of art history to touch on the themes of vanity, transience, presence and absence, and melancholy. Her work is full of cultural references drawn from literature, music, film and painting. With her first sculptures from the 1960s, Lili Dujourie entered into a critical dialogue with the minimal and conceptual art that was predominant in the art scene at the time, and in the following decade she turned to photography and video. In her black-and-white videos especially, which are without sound and often feature the naked female body as the subject, Lili Dujourie explores the themes of identity and gender that animate the contemporary feminist debate. The dichotomy between movement and stillness, between two and three-dimensionality, between figuration and abstraction, has underpinned all her artistic research to date. In a constant oscillation between painting and sculpture, Lili Dujourie has used different materials in her works, such as paper, velvet, marble, plaster, lead, clay and iron, revealing their internal contradictions.
These materials can be understood as soft and hard, malleable and rigid, fluid and solid, sensual yet inert: this depends on the extent to which the viewer’s perception of them is modified by the “poetry” that results from their manipulation. “I choose materials for their meaning and they are always both matter and medium”.
www.ftn-books.com has one publication with a contribution by Lili Dujourie available
Daniel Graffin’s creative work was primarily inspired by the 1950s. It can be said that the 1950s were dominated by Abstract Expressionism, a form of painting that prioritised dramatic brushstrokes and expressed ideas about organic nature, spirituality and the sublime. Much of the focus was on the formal techniques of painting, and ideas of action painting were unified with the political freedom of the United States society as opposed to the strict nature of the Soviet bloc. Influential artists of the Abstract Expressionist Generation included Jackson Pollock (who innovated his famed drip, splatter and pour painting techniques), Willem de Kooning, Mark Rothko, Frank Kline, Barnett Newman, Clyfford Still and Adolph Gottlieb. It was a male dominated environment, though necessary revisionism of this period has highlighted the contributions of female artists such as Lee Krasner, Joan Mitchell, and Louise Bourgeois, amongst others.
The secon reason is that Wim Crouwel designed the publication for the Daniel Graffin exhibition in the Stedelijk Museum in 1977. Impressive in the deep blue color he used one side for the promotion of the exhibition (poster side) and the other for the artist information. This poster is now available at www.ftn-books.com
The multi-artist Flemming Quist Møller, who made a reputation for himself as an illustrator, youngsters’s guide writer, musician, movie screenwriter and even actor, is very identified for his standard works.
These embody the debut guide ‘Cykelmyggen Egon’ from 1967, ‘Benny’s bathtub’ from 1969, ‘Snuden’ from 1980 and ‘Jungleader Hugo’ from 1989, which he collaborated on along with his son Carl Quist-Møller.
A number of of Flemming Quist Møller’s works have been printed each as youngsters’s books and cartoons.
In 2005, Flemming Quist Møller adopted up on the debut guide with ‘Cykelmyggen og Dansemyggen’, which was additionally printed as a cartoon in 2007.
Flemming Quist Møller was born on 19 Might 1942 and grew up in Taarbæk north of Copenhagen.
After a brief training on the Copenhagen animated movie firm Bent Barfod Movie between 1960 and 1961, he later turned a self-taught multi-artist, the place it was particularly as a author, illustrator, musician and movie director that he later turned nationally identified.
Gained a number of awards Throughout his a few years of labor, Flemming Quist Møller obtained quite a lot of awards and accolades.
Amongst different issues, he obtained the Gyldendal Kids’s Ebook Prize in 2006 and the Ministry of Tradition’s Illustrator Prize in 1983, whereas he was additionally awarded an Honorary Bodil in 1994 for his animated movies.
In 2019, Quist Møller was awarded the Statens Kunstfond’s lifelong honor.
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
