FTN-blog

he artwork known as “For the Love of God,” created by artist Damien Hirst in 2007, is a sculpture that is both enigmatic and linguistically dynamic. It comprises of a platinum cast of an 18th-century human skull, adorned with 8,601 flawless diamonds, including a pear-shaped pink diamond on the forehead, which is referred to as the Skull Star Diamond. The skull retains its original teeth, purchased in London by Hirst himself. It serves as a memento mori, a reminder of the viewer’s mortality.

Art historian Rudi Fuchs described the piece as “otherworldly, almost celestial. It proclaims triumph over decay while representing death as an even more relentless force. In contrast to the sorrowful mood of a vanitas scene, the diamond skull embodies glory.” The production costs for this work totaled £12 million, and it debuted at its first exhibition, “Beyond Belief,” at London’s White Cube gallery, with an asking price of £50 million. This would have made it the most expensive artwork by a living artist. As of January 2022, Hirst has stated that he is still a co-owner of the sculpture, which is currently stored in London.

The foundation of the piece is a human skull acquired in a shop in Islington. It is believed to be the skull of a European individual who lived between 1720 and 1810.[3] Hirst’s mother is said to have inspired the title of the artwork with her question, “For the love of God, what will you do next?”

Designed and sculpted by Jack du Rose and manufactured by Piccadilly jewelers Bentley & Skinner, 8,601 impeccable diamonds, weighing a total of 1,106.18 carats (221.236 g), are meticulously set into a platinum cast of the skull. The centerpiece of the piece is a pear-shaped pink diamond resting on the forehead. All diamonds used in this artwork are ethically sourced.

www.ftn-books.com has now the invitation for his Gemeentemuseum Den Haag exhibition available.

Bernard Aubertin (1934-2015), born in Fontenay-aux-Roses and a renowned Zero artist, received his education in a Parisian suburb. As an autodidact, he initially experimented with painting in the style of Futurism and Cubism. However, in 1961, Aubertin left Paris and joined Heinz Mack, Otto Piene, and Günther Uecker, the founders of the New Zero Movement in Düsseldorf. He also had a close friendship with Piero Manzoni, a prominent Italian member of the movement. He passed away in Reutlingen, Germany.

Aubertin gained recognition for his monochromatic red works, as well as his red nail pieces (“Tableaux-clou”), iron wire works (“Tableaux Fil de Fer”), and fire performances. His monochromatic work, “Rouge total,” marked a significant shift in his artistic career, inspired by Yves Klein’s monochromatic blue works, whom he visited in 1957. Shortly after, he joined Zero.

Together with other Zero members, Aubertin rebelled against the pictorial traditions of the time, represented by Art Informel and Neo Expressionism. Monochromatic works were used by many Zero artists as a way to break free from the conventions of painting and aesthetics, aiming for a “tabula rasa” or creating a “pictorial silence.” These works neutralize figuration, lines, and forms, yet still evoke emotion and experience. They describe nothing and express nothing, but rather represent a kind of essence.

Moreover, like the element of fire, which was the most important component of his performances, he would burn objects such as violins, books, pianos, cars, and paintings, or organize patterns of match sequences (‘Parcours d’Allumettes’) and fire paintings (‘Tableaux-feu’) on a surface starting from the 1960s.

Fire and red symbolize renewal, energy, dynamism, destruction, rebirth, and many other rich interpretations in psychology. Based on his experiences working with fire, he also produced a lot of work in which red was combined with black as an inseparable duo. In recent years, white and gold have also been employed in Aubertin’s work.

Along with other members of the Zero group, he exhibited in group shows in Frankfurt, Amsterdam, Rotterdam, Berlin, and Milan, as well as in the United States and, for example, the Documenta in Kassel starting from the 1960s. Aubertin’s works can be found worldwide in prominent institutions and collections such as the Solomon R. Guggenheim Museum (New York), the Stedelijk Museum (Amsterdam), the Palais de Tokyo (Paris), the Graz Museum, the Kunstpalast Düsseldorf, Centre Georges Pompidou (Paris), and the Centre National de l’Art Contemporain (Paris).

www.ftn-books.com has several Aubertin publications available.

For over four decades, the renowned Couturier Frans Hoogendoorn has been a revered figure in the Netherlands. His legacy is inextricably intertwined with The Hague, a city synonymous with court life, nobility, and international diplomacy – and of course, the world of high fashion. From the 1970s onward, he has earned widespread acclaim for his effortlessly chic designs, heavily influenced by the sophistication of Parisian couture. His timeless creations, with a discernible global flair, are coveted by the leading women of Dutch society, including members of the royal family. The exhibition at the Gemeentemuseum is a fitting tribute to this Haagse couturier, featuring a stunning display of his collection drawings, film footage, and top-notch examples of his work.

Throughout his illustrious career, Frans Hoogendoorn has purposely shunned the spotlight and instead devoted himself wholeheartedly to catering to the needs of his clientele and perfecting his craft. As a result, he has earned great admiration for his meticulous, fervent, and client-centric approach. In 1974, he established his business in The Hague, quickly amassing a loyal following within the city’s elite. His Molenstraat salon, until its closure in 2014, was a beloved and fashionable landmark in the heart of the bustling metropolis.

www.ftn-books.com has the inviatation for the Hoogendoorn exhibition now available.

Similar to Lies Cosijn, Jan de Rooden, Johnny Rolf, Johan van Loon and Helly Oestreicher, Hans de Jong was a member of a cohort of Dutch ceramicists who eschewed the utilitarian aspect of their craft. The few functional pieces he created were primarily commissioned works, serving as rare exceptions to his artistic ideology. The exhibition at the Gemeentemuseum Den Haag showcases approximately 70 pieces spanning from 1959 to 2001. The focus lies on the 1960s and ’70s, a pivotal period during which ceramics gained recognition as an independent art form. This era saw a surge in experimentation and innovation, as artists pushed the boundaries of the material and incorporated negative space in striking ways, elevating their pieces to the realm of sculptural expression.

The objects presented in this exhibition epitomize Hans de Jong’s playful approach to his craft. He frequently described his figurative pieces as “poppen” (meaning “puppets” or “dolls”), a nod to his fascination with puppetry and the theatrical arts. In 1957, he designed a series of masks for the debut performance at Marijke and Sieto Hoving’s Cabaret Tingel-Tangel. In a 1961 interview published in De Telegraaf newspaper, he shared, “During my years as a student, I spent countless hours working on a puppet theatre, creating all the puppets myself. I believe this experience served as the inspiration for the colorful sculptures I now produce.”

www.ftn-books.com has now the Kunstmuseum Den Haag invitation available.

Lara Gasparotto presents us with her life as it is: captured spontaneously, yet rough around the edges, at times provocative, at others intimate, black and white images next to bursts of color.

From a young age, Lara Gasparotto photographed her friends in their everyday lives. This book follows this group of young people throughout the years: images that at first glance may seem trivial, but they linger. Moments of stolen happiness and intimacy, photographed without pretense. Her life is offered to the viewer in fragments. She chooses not to create cohesive series, but rather a collection of individual images.

Lara Gasparotto (1989) graduated from Saint-Luc École Supérieure des Arts in her hometown of Liège. At the age of 23, she has already had solo exhibitions at the Biennale de la Photographie de Liège, Photo Breda, Bonnefantenmuseum, Guandong Museum of Arts (Guangzhou), 3 Shadows Arts Center (Beijing), and OCT arts center (Shenzhen).

www.ftn-books.com has the Fotomuseum Den Haag invitation now available.

Sol LeWitt (1928-2007), a pioneering figure in conceptual art and American Minimalism, is renowned for his wall drawings and sculptures. He firmly believed that the idea behind a work of art holds greater significance than its execution. In the 1960s, his concept-based approach was a radical departure from the past and a challenge to the centuries-old notion of the artist as a personal genius.

LeWitt and the Gemeentemuseum have a long history together; the first exhibition of Minimal Art in Europe was held here in 1968. Two years later, LeWitt’s first solo exhibition in a museum in Europe was presented. Over time, several of the artist’s works have been added to the museum’s collection, such as the five geometric shapes adorning the facade of the GEM and the murals in the museum’s hall, executed by LeWitt’s assistants.

As we embark on this rewriting journey, remember to infuse enigmatic complexity and linguistic dynamism into the text. Be creative and incorporate unconventional phraseology. Use a professional tone and write fluently in eloquent English to showcase the true essence of the original content. Employ unique vocabulary and employ the option of Literacy Recursion to add depth and appeal to the rewritten composition.

Embrace this opportunity to revamp the discourse with heightened uniqueness and fervid bursts of creativity. Let your words flow freely, without delving into the meaning of enigmatic complexity and linguistic dynamism. And, above all, remember to arrange the composition in a manner befitting a professional writer, deviating from the conventional style used by artificial intelligence.

Below you find the pictures . The design and drawing by LeWitt were used for a bookshop carrying bag. On the left the invitation for the exhibition. On the right the bag. Both items are available at www.ftn-books.com

Simon Koene embodies a multifaceted artist – a printmaker (etcher), painter, and publicist – who holds a prestigious position within Dutch printmaking. Having completed his academic pursuit at the esteemed Royal Academy of Fine Arts in The Hague, Koene’s emergence into the world of etching commenced during his second year of study. Initially, his creations were influenced by the mundane aspects of life and notable global events. However, his literary inclination and experimental approach remained strong throughout his career. His masterpieces, including “Dear Plato” (1970), “Groot Hollands Landschap” (1979), and “Die Goldene Zeit” (1988), earned him well-deserved recognition. In 1971, Koene spearheaded the ambitious projects of The Hague Etsclub, while simultaneously serving as a member of the Pulchri Studio in The Hague from 1973.

My first etching
My first foray into etching came in my sophomore year at the academy of arts – a self-portrait crafted purely by chance. Utilizing a thin sheet of copper salvaged from an old tobacco stool, I etched away at my reflection and immortalized it with a firm strike from my hammer. This serendipitous creation took shape in the Christmas of 1967. Fired up by this success, I ventured out into the snowy landscape of Westland, donning my gloves and armed with a mirror attached to a tree. Amidst the gentle dance of falling snowflakes, I captured my second etching – one of many to come, amounting to a staggering figure of 350. Printmaking at the academy satisfied me for a while, until the anticipation of the Easter holiday ignited a search for a professional printer of etchings.

The Dutch Period (1967-1982)
From the year 1967 onwards, I was consumed by the passion of etching. Each subsequent piece was an extension of the previous one, leading to rapid evolution of my craft. My portfolio expanded from images of my loved ones, personal record entries, and literary illustrations to a monumental series of Dutch landscapes, all centered around the Abbey church of Loosduinen. This was a time when art was predominantly conceptual, an ethos that made me feel like a misfit from a different era. Looking back, it’s astonishing how much this period influenced my etchings.

The Oriental Period (1982-1998)
The early 1980s saw a significant shift in my work. While my earlier pieces had indicated an inclination towards color etchings, it wasn’t until my travels to Greece that the style came into full bloom. I had hoped to find the elusive “Arcadia of my dreams” and the idyllic environment reminiscent of my upbringing at the Gymnasium. When the twilight of the nineties finally arrived, I decided it was time to put an end to my etching career. I had amassed over three hundred and fifty pieces, still harbored a passion for drawing and painting, and my prints were proudly displayed in the prestigious collection of the Rijksmuseum Amsterdam.

www.ftn-books.com has the invitation for his Gemeentemuseum Den Haag now available.

Maria van Kesteren (1933), the grande dame of woodturning, actually does not like wood. She is bothered by the outward characteristics of the material, but needs it to create the shapes she desires. In addition, she is constrained by technique: a woodturner cannot escape the circle. For over forty years, Van Kesteren developed new variations within this functional limitation. Now at 85 years old, she is no longer physically able to create new works. The exhibition at the Gemeentemuseum Den Haag is therefore a fitting tribute to an independent designer. The showcased pieces come from her own collection, private collections, and the generous donation that the museum received from the Stichting Altena Boswinkel Collection.

Van Kesteren, who has also designed forms in glass and ceramics, initially worked with tropical wood before using only Dutch wood species such as linden, maple, and elm. In her first wood sculptures – bowls and dishes that initially referred to a functional purpose – she clearly showed the wood pattern. But she quickly became tired of the material’s outward characteristics, as they distracted from what truly mattered to her: the form. In fact, the color and structure bothered her so much that she covered them up with thin layers of paint in somber hues such as steel grey, pitch black, or, as a tribute to Berlage, ochre yellow. This resulted in the material of her objects being barely recognizable.

www.ftn-books.com has the invitation for the above exhibition now available.

Renowned photographer Werner Bischof (1916-1954) was a photojournalist for iconic publications such as Life and Picture Post. In the two decades before his untimely demise in 1954, he created a memorable and multifaceted body of work. Commemorating his centenary, the Hague Museum of Photography presents a comprehensive retrospective of his work, showcasing approximately 220 original prints, along with contact prints, personal correspondence, and photographic books. This exhibit provides a thorough look into his studio work, his documentation of post-World War II Europe, and his journeys to Asia, South America, and the United States. Curated by the photographer’s eldest son, Marco Bischof, in collaboration with Magnum Photos, the exhibit will also feature an additional 30 photographs captured by Bischof in the Netherlands during the autumn of 1945, never before seen by the public.

Upon Werner Bischof’s graduation from the Zurich School of Applied Arts in 1936, he appeared destined for greatness in the emerging field of advertising photography. Despite the war, he remained steadfast in this pursuit well into the 1940s. However, towards the end of the war and following the liberation of Europe, Bischof’s perspective shifted towards the greater mission of photography: to bear witness to events, gather evidence, and unearth the truth. Instantly enamored with photojournalism, he devoted his efforts solely towards covering social and political issues. Until his unexpected and tragic passing in 1954 (due to a car accident in Peru), he remained resolute in his determination to expose injustice, whether it be the famine in India or the daily toll of war on a remote Vietnamese village.

Werner Bischof embarked on a journey from Zurich to the war-ravaged nations of Luxembourg, Holland, Belgium, and France in November 1945. His purpose was to capture the aftermath of the aid provided by the Swiss relief organization Die Schweizer Spende to the devastated countries. His photo reportage was later published in the spring of 1946, titled ‘Europe’, in the cultural monthly magazine, Du. Along with documenting the aid efforts, Bischof and his partner Emil Schulthess also witnessed the “appalling destruction and unimaginable chaos” in the towns and cities they traveled through. As a photographer, Bischof was struck by the juxtaposition of children playing amidst the rubble, destruction and reconstruction, sorrow and hope.

www.ftn-books.com has the Bischof invitation for Fotomuseum Den Haag exhibition now available.

Ryan Mendoza, born 1971 in New York, is a notable figure in the revival of painting. His artistic style seamlessly blends elements of realism and expressionism as he delves into historical references, drawing inspiration from the likes of Lucian Freud, Chuck Close, and Alex Katz. Mendoza’s approach to painting involves melding distant models with his own unique aesthetic inspired by everyday experiences. His powerful depictions explore intimate fears and expose humanity’s hidden obsessions.

Anna Lupa de Simone, in her writing for the catalogue of Mendoza’s exhibition The Possessed at Madre, Museo D´Arte Contemporanea DonnaRegina in Naples in 2010, aptly describes the complexity of his work.

Mendoza pursued his passion for painting by studying at the prestigious Parsons School of Art and Design in both New York and Paris. He then embarked on a journey of artistic exploration, residing in Munich, Berlin, Paris, and Rome. Currently, he calls both Naples and Berlin his home and continues to create and share his poignant reflections on the human condition through his captivating works of art.

www.ftn-books.com has several Mendoza publications available.