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Joan Soler (1963)

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Born in Mallorca in 1963, Soler was unknown to me until we visited the FUNDACIO PILAR i JOAN MIRO some decade ago and we encountered within this museum teh paintings by Soler. We learned that some time before they had held an exhibition to show the relation between Soler and Piet Mondrian whose works i know very well from my time at the gemeentemsueum Den Haag. I took an interest in this artis and liked the way he uses color with his absytract compositions. Both use geometric forms and lines , but the differnce there is a stronger sense of 3D.

Solor builds his paintings with layer upon layer, realizing this a way a 3D image. Fascinating to see. The catalogue in which Soler travels the road Mondrian took is available at www.ftn-books.com.

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Andy Goldsworthy (1956)

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Andy Goldsworthy, British sculptor, photographer, environmentalist,  seems like a perfect choice for his personal quest is to be intimate and create with Nature. What flows through him, flows through the landscape and his goal is to feel, experience,  understand,  and then to create with this energy.

In his collaborations with nature, Andy works with whatever comes to hand: twigs, leaves, stones, snow and ice, reeds and thorns, creating site-specific installations, exploring the very essences of these materials.  In his process, he first must become attuned to his environment mentally, physically, and emotionally.  He listens, he observes, and then when he seems to be drawn to the way the materials express themselves he creates.  He takes these very materials and reweaves them back into the environment in a deliberate manner then lets the effects of the natural conditions have their way with them.  For example, near a stream, he sews together leaves with pine needles and allows the current to carry them as if it were a new inhabitant making its way in the flow.  Another example he creates a structure from sandstone or shale at the sea’s edge then observes how the tide interacts with it, carries it away, melts it, or simply flows over it.  In this manner, he is exploring change, transformation, mutability, permeability, the unknown and impermanence.

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As an audience, we feel the sense of birth, life and death with great anticipation and curiosity and a sense of triumph.  Andy will photograph his process and this is mainly the only means he has to show that he actually created and collaborated with nature.  There are exceptions such as rock walls he constructs but even they will not stay as he created them.  So, the photographing of his installations tell the story, a small drama as it were.  And he is always uncertain of the exact metamorphoses of his pieces.  On film he captures the infancy stages of creating them, the majestic full bloom of the mature piece, and then the decline and demise that comes with time.

His works of our art are not for eternity, but because he documents them extremely well, video’s and photographs remain and are proof that at one time the work existed and amazed those who saw it in reality. www.ftn-books.com has the much sought Staatsbosbeheer publication for sale.

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Michael Raedecker (1963)

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Michael Raedecker records the memories held within spaces and objects in his enigmatic and dream-like paintings. Suburban homes, tree houses and empty rooms and vacant chairs, all float in haunting isolation. Muted hues are penetrated with thread and needle where the artist hand-sews forms into textural materiality. Raedecker mines art history and popular culture, sourcing compositions from 17th-century garland paintings, obscure magazines, and film stills.

this filmed portrait on Raedecker is by Franz Weisz

Since the beginning of his career as a painter Raedecker has incorporated embroidery into his works as a visual counterpoint to his washed-out paint application. His elaborate needlework adds linear definition to representational forms and the thread and paint visually mix together in areas of dense detail or abstraction. The absence or suggested loss of human presence invites the viewer to contemplate architecture as a mental or emotional space, where the domestic realm is detached from practical implications, yet deeply personal. Images of flowers, food and textiles with darkly ambiguous titles bring the domestic associations of his stitching into play with his subject matter, and show his interest in the Dutch tradition of still-life and Vanitas paintings. Raedecker’s distinct formal language explores the relationship between the formless, complex nature of our emotions and the vessels we use to contain them.

www.ftn-books.com has some nice Raedecker titles available.

raedecker

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SPEAK UP!, the Graphic Matters Poster competition 2017

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These are all examples from an excellent publication i recently aquired. Every poster is so unbelievable powerful and shows that the art of the poster is still very much alive. The SPEAK UP! pblicationis now available at www.ftn-books.com.

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Han Yajuan (1980)

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Sorry…..no this is not an Istagram post by a chinese influencer , but the portrait is of Han Yujuan.

韩娅娟
As part of the post-1978 generation, Han Yajuan (born 1980) is concerned with China’s socio-cultural transformations and new materialistic trends. Her works mostly employ a cartoon style based on Japanese anime, and explore the multi-dimensions of women’s lives.

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Han Yajuan was born in Qingdao in 1980. She obtained the Bachelor of Fine Art at Oil Painting Department of China Academy of Art, and master’s degree at Central Academy of Fine Arts. She has lectured in the School of Media and Animation of China Academy of Art, and attended short-term study in Royal College of Art in Britain. Now she lives and works in Beijing and Hong Kong. She has held numerous solo exhibitions worldwide, including: China, USA, UK, Japan, Netherlands, Italy, Australia, Spain and Turkey. Her works have also participated in over a hundred national and international group exhibitions, including: “Story about the Orient-Art Invitational Exhibition of Asian Youth” in National Art Museum of China; “Go Figure! Contemporary Chinese Portraiture” at Australia National Portrait Gallery and Sherman Contemporary Art Foundation; “Future Pass” toured in Palazzo Mangilli Valmanara in Venice, Rotterdam Wereldmuseum, National Taiwan Museum of Fine Arts and Today Art Museum in Beijing. Han Yajuan’s work primarily deals with issues of female identity and self-awareness, she was ranked 7th in Reuters’ “The Hot-Young-Artists League Table”, and can be counted amongst some of the worlds’ most prestigious private and institutional art collections, such as The Uli Sigg Collection, CAA, and M+Museum.

www.ftn-books.com has the scarce Yujuan catalogue from her exhibition at Kerseboom Modern art now available.

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Karen Sargsyan (1973)

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First there was this catalogue that struck me. It was the Thieme Art published catalogue from 2008 to commemorate the winning of the Thieme Art price by Sargsyan. The title is THE TOUCHING and the art shown in this publication is totally original, Fragil paper and aluminium sculpturen build with this layers of material into moving figures. Their actions seems to be frozen to be captured by the artist. This is not the kind of art you would present in your living room, but fill a museum with these figures and you will be amazed with every corner you turn and encounter a new composition of almost true life action figures.

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Karen Sargsyan’s sculptural installations are made of paper aluminium and refer to the materials’ importance in the history of international communication. His sculptures personally materialize history, characters, events, and nature through this simple material.

sargsyan

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ART Museum announcements

It has been a long time hobby of mine to collect and take with me the announcements for the planned exhibitions at the museums I visit. In the past 25 years, I have collected some of the most wanted announcements. Among them Basquiat, Erwin Olaf and Niki de Saint Phalle and Jean Tinguely. What makes these folders stand out is that in many cases their design is done by the designer who is also responsible for the exhibition catalogue. It is if you are looking at a miniature version of the exhibition catalogue. www.ftn-books.com has some of the mentioned exhibition folders at this moment available.

 

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Gerard Verdijk and Peter Stuyvesant

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Readers of this blog know of my admiration for Gerard Verdijk and did not hesitate a single secoond when in 2011 a very large painting by Verdijk was put up for auction and did not receive its first bid. It appeared to be the winning bid and since the moment this painting entered our home it has been on display in our living room. The painting was part of the Peter Stuyvesant collection but a decade ago the staff of the Turmac Tobacco company and the founders of the Stuyvesant foundation decided to sell their collection. This collection is very well documented  and from its earliest of beginnings the best dutch designers made the catalogues which documented their additions. I knew almost for certain that our paintings was in one of these publications but i never found the right one, but…..i now have it and i am very pleased that our painting is prominently present in a beautiful large catalogue, designed by Anton Beeke …and the title of it is “GROOT” in de collectie Peter Stuyvesant.

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Published in 1997, the new additions were curated by the former director of the Stedelijk Museum, Wim Beeren.( see photo above this blog) An interesting final addition which almost completes all Peter Stuyvesant publications. This one is not for sale but there are others which are available at www.ftn-books.com.

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Floor van Keulen added to the FTN art collection

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It was a long time on my wish list and ia finally could fullfill this wish. Since i met Floor van Keulen at the Haags Gemeentemuseum where he painted the  “Project room” at the Haags Gemeentemuseum in 1989.

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His wall drawings are extremely large narratives. You can discover human figuren, weapons, books and landscapes all within the same wall painting/drawing. Connected with eachother by more figures and objects, resulting in an almost abstract painting, but with so many details that are realistic. His stand alone paintings are scarce. Most of the time lare/extremely large and where his small drawings are just sketches and exercises for the large wall drawings. His paintings on paper are true paintings. Where his wall drawings are most of the time removed or painted over. His large “paintings” are permanent and one of these , from 1987 , i now have added to the FTN art collection.

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The following text was found on the Piet Heen eek site and shows a different approach to his art.

Human figures and cartoons are the only motifs in the repertoire of drawings created by Floor van Keulen since 1980. They appear to be randomly spread across the surface, components of a well-balanced composition without any specific meaning. Shapes effortlessly melt into one another, debate with each other; emotions occasionally flare up, only to harmoniously merge together afterwards.

Floor van Keulen appears to shirk from the formal experiment, the abstract art experiment, in which realistic and figurative art that set the tone for hundreds of years is brushed aside as a truly relevant form. Van Keulen does not allow himself to be drawn into movements or trends within contemporary art. He has developed his own unique vision and confrontational visual language in which figurative depictions are interwoven with abstract shapes.

His art originates in his imagination and reality. He uses the ‘vocabulary’ he has put together through the years to formulate a vision of the world around him. The viewer encounters the virtuosity of the image and gets carried away in the painter’s exuberant gesture. On closer analysis of what it is exactly that affects the viewer so strongly, he or she first focuses on the pattern and motifs, attempting to decipher the artist’s story by interpreting the figurative elements. Only later does he or she discover that it is the work as a whole that is key here, the total emotion, not the details, form and contra-form. At first glance, the work appears to be expressive, but on closer inspection, clearly has a more subdued character and is carefully balanced and considered.

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Gerard Petrus Fieret (continued)

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In 2004 the Gemeentemuseum Den Haag received a donation from Gerard Petrus Fieret, containing over 1000 photographs, drawings and other collectable items. This gift grew the collected Fieret works in the collection of the museum considerably making it the largest Fieret collection in the world. To remember the donation and to please the artist the artist was invited to make a live exhibition in which he made his drawings in one of the rooms of the museum and decorated the walls with these drawing.  If i remember well , Fieret entered the museum for some five weeks, greeting the doorman in a very grumpy way ( yes he was a grumpy old man at that time~), walked the museum hall , entered the designated room and started to draw. Drawing after drawing came out of hands and the publicity department decided to use the event to anounce an exhibition of this huge gift by the artist. They selected 81 drawings from the already considerable pile of drawings and bundled these into a specially made poster and send these out to the press ( all in house made) to announce the Fieret exhibition. Only a few dozen of these press kits were made, making this one of the most desirable and collectable Fieret items. The press kit is now for sale at www.ftn-books.com

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