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Reinoud van Vught (1960)

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It must have been around 1990 when I first heard about Reinoud van Vught. Not because I saw work of him, but because during that period I met marc Mulders and because of a publication we were selling by Mulders in which the other painters of the Tilburgse School were included I, for the first time, some work by van Vught. (Geelen, van Dongen and Zuurmond are the other painters from the Tilburgse School).

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de Tilburgse School

What makes van Vught and Mulders stand out for me is that their works from a distance are realistic, but…..come close by and they transform into pure abstract works of art. Powerful, paintings and drawings. In these works, many natural elements find their way into its composition. Flowers, branches, animals and birds are present. The tree trunks and branches have found their way in a series of oil paintings on paper which was presented at the Museum ‘t Coopmanhus in Franeker in May/June 2000.

An impressive series which catalogue is now available at www.ftn-books.com

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Berlinde de Bruyckere (1964)

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For me Berlinde de Bruyckere stands for “poetic discomfort”.

The first time I encountered a work by de Bruyckere was the very fragile “donkey” Sculpture which is in the Caldenborgh collection. In the middle of the woods from his estate, the sculpture can be found on a semi-open space between wood and leaves. Made from lead and highly detailed this shows that the lead is soft, fragile and shows the vulnerability of the composition and the materials.

The second time was when a sculpture by de Bruyckere was presented in a showcase together with the walls hung with magnificent Bacon paintings in one of the rooms of the Gemeentemuseum Den Haag. It was a rare occasion that these two great artists were combined and I rarely have seen a more impressive and beautiful presentation of both these great artists.

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She makes three-dimensional sculptures, installations and aquarelles. Her older work has a minimalist character. Steel, stone and glass were her materials of choice. Gradually she leaves abstract motifs to seek recourse in recognisable forms and things, introducing the blanket, malleable lead and straw as materials.

More recently, she has extended her personal iconography with striking sculptures of (stuffed) horses and giant (once-) cuddly animals. The beauty of the materials she uses always has something of the fatal in it. The blankets in her sculptures protect and suffocate, the lead roses seduce and poison, the carpet of begonias bear witness to bloom and decay. She intentionally uses familiar forms to inspire thinking in viewers, to provide them with memories. Her preference lies with materials and forms that mirror ambiguity, something characteristic of the human experience. Beneath the delicate and sometimes deceptively endearing skin of her work is a yawning abyss. Death, fear and loneliness are recurrent themes, though never disconnected from life, love and beauty. Despite the great formal diversity of her works, there is a common thread running throughout her oeuvre in terms of choice of materials, techniques and the repeating of symbols and motifs.

Aside from her three-dimensional works, the artist has also always put her ideas on paper. These works (drawings and aquarelles, or aquarelle and gouache combined on old paper or cardboard) are often preparatory material for the sculptures but are autonomous works in themselves. Berlinde De Bruyckere does not impose ‘the’ interpretation of her works. She consciously leaves the door open for diverse understandings.

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www.ftn-books.com has now the book available which was published on the occasion of the 55th Biennale di Venezia. Text by J.M. Coetzee and of course the photographs on the installation by de Bruycker

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Kim Zwarts (1955)

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His works remind me of Oliver Boberg his photographs, but with one difference. where Boberg shines with his colour photographs, Kim Zwarts excels in composition and lightning . Soem 20 years ago i had never srealized i was looking at a photogrpah by Zwarts but the last 15 years or so i can recognize his photographs from a distance. The way the composition is made and the way he uses light, dark , shadows and contours make these photographs one of a kind and recognizable.

He studied at the Academy of Applied Arts in Maastricht. He has worked as a photographer on many architecture books, including monographs of  Gerrit Th. Rietveld, Luis Barragán, Thom Mayne/Morphosis, Wim Quist, Alvar Aalto, Charles Vandenhove and Dom H. van der Laan.

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Study grants from the Netherlands Foundation for Fine Arts, Design and Architecture in 1990 and in 1999 enabled him to conduct photographic research. On both occasions, he spent a long period in the United States.

Zwarts has realized art commissions for Koninklijke Sphinx bv, Mercedes Benz, WML, and Maastricht University. In 2001, real estate company Vesteda acquired the entire research project California 99-00.

Zwarts’ work also appeared in Pale Pink (1994), Beyond (1997) and Maastricht 148 (2000).

Exhibitions of his work have been held in, among others, the Bonnefantenmuseum in Maastricht, the Centraal Museum in Utrecht, the AA in London, the Netherlands Photomuseum in Rotterdam, the Berlage Institute in Amsterdam, the Centre Céramique in Maastricht and the Liège Photo Biennale. In 2001 Zwarts designed a facade motif for the glass and concrete walls of the Utrecht University Library. Currently Zwarts is working on the ongoing project US 2009-2016.

Kim Zwarts’ work has received national and international recognition in the form of the Kodak Award (1989) and the Werner Mantz Prize (1997).

www.ftn-books.com has several Kim Zwarts titles available.

 

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Jan Hendrix (1949)

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This is the other Jan Hendrix. A contemporary of Jan Hendriks, but one that works from outside the Netherlands too and has a studio in Mexico. This land and its culture has a direct influence on his works. Hendrix is inspired by nature and this shows in practically all his works. The reason for this second blog on a “HENDRIX/HENDRIKS” is the catalogue i recently acquired . It is a galeria de arte Mexicano publication from 1980 in which series of polaroids are combined into some great works of art…..the subject….nature of cours and because i myself like the MOLESKINE notebooks i included a nice video of Hendrix and his use of the Moleskine’s

 

hendriks x

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Billy Apple ( Barrie Bates – 1935 )

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Billy Apple is considered to be a Pop Art artist, although he side stepped at some occasions his main works are related to the Pop Art movement. Coming from New Zealand but working and living in the US he made a career for himself knowing many of his great contemporaries personally.

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Billy Apple (ONZM) is an artist whose work is associated with the New York and British schools of Pop Art in the 1960s and with the Conceptual Art movement in the 1970s. He collaborated with the likes of Andy Warhol and other pop artists. His work is part of the permanent collection of the Museum of New Zealand Te Papa Tongarewa (New Zealand), Auckland Art Gallery / Toi o Tamaki (New Zealand), the Christchurch Art Gallery / Te Puna o Waiwhetu (New Zealand), The University of Auckland (New Zealand) and the SMAK/Stedelijk Museum voor Actuele Kunst (Ghent, Belgium).

Barrie Bates was born in Auckland, New Zealand in 1935. He left secondary school with no qualifications and took a job as an assistant to a paint manufacturer in 1951. Bates attended evening classes at Elam School of Fine Arts, where he met Robert Ellis, a graduate of the Royal College of Art in London.

In 1959 he left New Zealand on a National Art Gallery scholarship. He studied at the Royal College of Art, London, from 1959 until 1962. During his time at the Royal College of Art, Bates met several other artists who went on to become a new generation of pop artists; including David Hockney, Derek Boshier Frank Bowling and Pauline Boty. He exhibited frequently during his time at the College in the Young Contemporaries and Young Commonwealth Artists exhibitions along with Frank Bowling, Jonathan Kingdon, Bill Culbert, Jan Bensemann and Jerry Pethick.

In 1962 Bates conceived Billy Apple: he bleached his hair and eyebrows with Lady Clairol Instant Creme Whip and changed his name to Billy Apple. Apple had his first solo show in 1963 – Apple Sees Red: Live Stills – in London at Victor Musgrave’s Gallery One.

Apple moved to New York in 1964: he progressed his artistic career and also found work in various advertising agencies.

A pivotal event was the 1964 exhibit “The American Supermarket”, a show held in Paul Bianchini’s Upper East Side gallery. The show was presented as a typical small supermarket environment, except that everything in it — the produce, canned goods, meat, posters on the wall, etc. — was created by six prominent pop artists of the time, including Billy Apple, Andy Warhol, Tom Wesselmann, Jasper Johns and others.

Apple was one of the artists who pioneered the use of neon in art works (Apples to Xerox and Neon Rainbows). Other exhibitions and series include Art for Sale, The Given as an Art Political Statement, Transactions, Golden Rectangle, The Art Circuit etc.

In 2008 Apple was the subject of a feature length documentary called “Being Billy Apple”.

www.ftn-books.com has acquired the important UNION JACK poster by Billy Apple he made for his 2009 Witte de With exhibition. Now available at www.ftn-books.com

union witte apple a

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El Kazovskij (1948-2008)

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Born in Russia, but living most of her life in Hungary, El Kazovskije has hada special role in Hugarian art. The art of Hungary from the second half of last century is mostly known for constructivist art, but El kazovskije had a totally differen t approach to art . Designing costumes and making performances made him a much more complete artist than the artists from his generation.

El Kazovsky was born under the name of Elena Kazovskaya in Leningrad, Russia to Irina Putolova, an art historian, and Yefim Kazovsky, a physicist. He moved to Hungary in 1965, at the age of 15, and graduated in 1977 with a degree in painting from the Hungarian Academy of Fine Arts. El Kazovsky’s masters were György Kádár and Ignác Kokas.

El Kazovsky was open about being transgender – born biologically as a female and self-defining as an androphile man.

His art cannot be broken down into periods; all of his expressive paintings reveal the same mythological world that he created. Several recurring figures appear in many of his paintings, such as the long nosed dog or the ballet dancer figure. Besides paintings, his work includes stage designs, performances and installations.

www.ftn-books.com has a rare studio Galeria catalogue from 1979 on the artist available

kazovskije

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Jan Hendriks (1946)

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The first artists that i thought of when i first saw the works by Jan Hendriks was Klaus Staudt, but also in a distance you can experience some of the influences that Jan Schoonhoven had on art. Stil the works by Hendriks are not to be missed and must be valued on their own appearance and qualities. I like his works very much and noticed on a site when i did somne research on Hendriks that prices are still within reach of most people. The reason of writing this blog is that i recently acquired a small catalogue which shows a totally different aspect of his works.

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Ravelli pottery 1944-1977

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There was a time you could find Ravelli pottery on Bric a Brac markets all over the Netherlands. Not any longer since these Ravelli items have becom highly collectable items with a loyal following of collectors. Started in 1944 and finishing in 1977 these Ravelli items were designed and made by Jaap Ravelli. Who worked all these years in his studio helped by some assistants.

All items were signed, so there can be no mistake about a Ravelli item. In 1989 J.M. de Koning took the initiative to make a first book on these collectibles and it was a great effort. Later other publications were published but tghis first book from 1989 set a standard for Ravelli publications. In it some history and many items from the studio. This book is now available at www.ftn-books.com

ravelli aardewerk

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One week ….Lefebre gallery….day 2

I just noticed that this was not posted on the 2nd of June so this is to make up for this omission. …

Last week I acquired a large collection of catalogues from the LEFEBRE GALLERY. The collection contains 63 different exhibition catalogues all fro the period that this famous gallery was open between 1960 and 1986. A great collection which I will share in the coming 7 days….today day 1

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from top to bottom /left to right:

Sonderborg, 1961

Emil Schumacher, 1968

Alain Lestié, 1973

André Naggar, 1975

Horst Egon Kalinowski, 1969

Klaus Fussmann, 1981

Klaus Fussmann, 1979

Klaus Fussmann, 1978

Klaus Fussmann, 1984

The series i have available at www.ftn-books.com contains 62 different titles. These publications will be listed in the upcoming 4 weeks. If there is a publication you would like to buy, please sent an email to ftnbooksandart@gmail.com and i will quote you your best preview price.

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Maddy Arkesteyn (1966-2012)

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A promising career was ended much too soon because of a deadly disease which ended her life in 2012. But Maddy Arkesteyn has left us some impressive works in public collections and an excellent catalogue which was published by Centrum Beeldendende Kunst in 1994. This catalogue shows that Arkesteyn needed space for her works. These are not intimate little paintings but large installations in which she uses all materials that are nearby or at hand. Educated in Maastricht at the Academie Voor Beeldende Kunst and finishing her educations at the Ateliers ’63 in 1989-1991.

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After de Boterhal an an exhibition in Ateliers Ville de Marseille. Only local exhibitions as theone in Dordrecht at Pictura.

Possibly the final interview she gave can be found at this address:

Interview July 2012

In this interview she tells what drives her to make the art she does.

www.ftn-books.com has the CBK title available.