In my 2020 blog on Sleeuwenhoek i mentioned that i wanted to acquire a Sleeuwenhoek for our collection and…. now after many years we have managed to do so. We acquired a gouache and a silkscreen. The gouache is now hanging in an appropriate place and the large silkscreen is now for sale. If interested please contact me at wilfriedvandenelshout@gmail.com.
and the silkscreen
Many dutch and almost all soccer fans worldwide know the name of Johan Cruijff. In the mid seventies Jits Bakker made an action sculpture of Johan Cruijff which has become quite famous among soccer fans and art lovers alike. But beside this sculpture the works of Jits Bakker are so much more. They have one quality in common…..these all show action and movement, making these recognizable. Dancers. musicians, cyclist all are depicted in action and none static nor posing. . Jits Bakker knew how to express himself in bronze, making him , together with Kees Verkade , one of the dutch sculptures whose quality is recognised by many art collector.
The JIts Bakker published BEWEGING BETRAPT IN BRONS is now available at www.ftn-books.com
At first glance the paintings of Masha Trebukova (*1962) appear to be purely abstract – colourful forms of various shades and shapes on canvas. They smoothly flow into each other or collide in sharp counteraction, whirling around and collapsing at their climax. As if some cosmic powers were struggling on the painted surface, but yet some familiar reality does transpire from this non-figurative battle. The colour blue – at the top or at the bottom of the painting – can suddenly turn into a pool of enticing water or of endless skies, vibrating silver–pink openings become atmospheric matter pierced by light. Sometimes these forms acquire a three-dimensional quality of a lump of rock (whereas in the earlier works they were reminiscent rather of landscapes), increasing the effect of depth. In this way masters like Willem de Kooning and Nicolas de Stael worked on the borderline of abstraction and reality in the middle of last century..
She finds her own solutions to the eternal problem of painting – the relationship between flatness and depth. New materials are added to the traditional technique of oil painting. Pieces of dyed gauze, rough jute, leather or transparent interfacing fabric when applied to canvas bring new possibilities for resolving this age old problem. A lower layer of colour shines through painted gauze and creates a feeling of depth, but perpendicular brush strokes, much like Cezanne’s, bring remote images back to the foreground flatness of the canvas, surface breaks into endless space, and abstraction “becomes” reality..
The same idea lies at the basis of her printmaking. She prepares cardboard sheets with glue and sand and uses these forms for printing monotypes, sometimes arranging several parts together and creating polypthychs, at times 2 x 3 meters large. On paper as well as on canvas Masha confronts in the first place purely artistic problems: colour balance, the relationship between form and structure, tension and attraction of elements. But a certain reality appears by itself, breaking through the rational calculations, oozing out from sub- consciousness, coming from the deep natural bond of the artist with the real world. Such a combination of the rational and the spontaneous is not easily achieved, it is the result of mature masterly work.
www.ftn-books.com. sells the 2011 Borzo catalogue.
Luut de Gelder (1942) studied, together with Eja Siepman van den Berg, at the Rijksacademie in Amsterdam. De Gelder has always remained true to herself and her own ideas. It is therefore hard to find an outside influence, from teachers or fellow students, in her work. De Gelder is a true stonemason, but also models sculptures to be cast in bronze. While cutting in a stone, she enters into a dialogue with the material. She has used one theme for her entire life: the female fragment, the woman’s lap. Her work is characterised by this specific theme, as well as contrast in the stone. These contrasts are often to be found in the finishing, in the skin of the material. Some parts of the sculpture remain rugged and unpolished, others have been made even and soft to emphasise the vulnerability of the lap.
www.ftn-books.com has the HET DEPOT publication available.
Last week we acquired an impressive work by Janpeter Muilwijk. Beside the 3 larger works we now have acquired a large silkscreened one from an edition of 30 copies. Numbered signed and a typical work from his earliest years. Linda and I are still fond of his works. They have a quality that I can not find among other artists from his generation. This is the work which is now for sale.
The following text comes from Wikipedia.
Richard Prince (born 1949) is an American painter and photographer. In the mid-1970s, Prince made drawings and painterly collages that he has since disowned. He began copying other photographers’ work in 1977. His image, Untitled (Cowboy), a rephotographing of a photograph by Sam Abell and appropriated from a cigarette advertisement, was the first rephotograph to be sold for more than $1 million at auction at Christie’s New York in 2005. He is regarded as “one of the most revered artists of his generation” according to the New York Times.
Starting in 1977, Prince photographed four photographs which previously appeared in the New York Times. This process of rephotographing continued into 1983, when his work Spiritual America featured Garry Gross’s photo of Brooke Shields at the age of ten, standing in a bathtub, as an allusion to precocious sexuality and to the Alfred Stieglitz photograph by the same name. His Jokes series (beginning 1986) concerns the sexual fantasies and sexual frustrations of white, middle-class America, using stand-up comedy and burlesque humor.
After living in New York City for 25 years, Prince moved to upstate New York. His mini-museum, Second House, purchased by the Guggenheim Museum, was struck by lightning and burned down shortly after the museum purchased the House (which Richard had created for himself), having only stood for six years, from 2001 to 2007. In 2008 the painting ‘Overseas Nurse’ from 2002 fetched a record-breaking $8,452,000 at Sotheby’s in London. Prince now lives and works in New York City.
Richard Prince was born on August 6, 1949, in the U.S.-controlled Panama Canal Zone, now part of the Republic of Panama. During an interview in 2000 with Julie L. Belcove, he responded to the question of why his parents were in the Zone, by saying “they worked for the government.” When asked further if his father was involved in the military, Prince responded, “No, he just worked for the government.” The Wall Street Journal later reported that Prince’s parents worked for the Office of Strategic Services in the Panama Canal before he was born. Prince later lived in the New England city of Braintree, Massachusetts, a suburb of Boston, and Provincetown on Cape Cod. In 1973, he moved to New York and joined publishing company Time Inc. His job at the Time Inc. library involved providing the company’s various magazines with tear sheets of articles.
Prince was first interested in the art of the American abstract expressionist Jackson Pollock. “I was very attracted to the idea of someone who was by themselves, fairly antisocial, kind of a loner, someone who was noncollaborative.” Prince grew up during the height of Pollock’s career, making his work accessible. The 1956 Time magazine article dubbing Pollock “Jack the Dripper” made the thought of pursuing art as career possible. After finishing high school in 1967, Prince set off for Europe at age 18.
He returned home and attended Nasson College in Maine. He describes his school as without grades or real structure. From Maine moved to Braintree, Massachusetts, and for a brief time lived in Provincetown. Ultimately he was drawn to New York City. Prince has said that his attraction to New York was instigated by the famous photograph of Franz Kline gazing out the window of his 14th Street studio. Prince described the picture as “a man content to be alone, pursuing the outside world from the sanctum of his studio.”
www.ftn-books.com has several Richard Prince publication available
Geisler studied from 1985-89 at the ‘Gerrit Rietveld Academie, “and in 1991 at the” Beeldende Rijksakademie van Kunsten ‘in Amsterdam. She is a founding member of Media @ haarlem, the Institute for Media Arts in Haarlem . Kirsten Geisler lives in Berlin and Haarlem.
Kirsten Geisler employs in her work with the interface between the real and virtual worlds . They discussed how these worlds are increasingly flowing into each other. Kirsten Geisler developed virtual sculptures using 3D and virtual reality technology. The body, its materiality, its traces and its presence in the media are the issues that shape their work and inspiration. Her work includes only computer-generated 3-D sculptures. At the beginning created juxtapositions of real and virtual portraits of women such as “Who are You?”, 1996. Odle took it to the socio-political debate about the virtual and digital and the construction of identity in a digitally networked world. In the work of the series ” Virtual Beauties “, 1992-1996, the repertoire of the virtual 3-D characters, enhanced by the interaction with the viewer. The series focuses on the manifestation of feminine beauty ideals and reflects the obsession with beauty in a digitized and virtualized society. It works followed with full-length, stereotypical women’s bodies such as “Dream of Beauty ‘, 1997 – 2000, and” Catwalk I “-.” Catwalk II “, 2004, these virtual models created without photographic model you are the synthesis of ideal images of a woman, as they are given us by the media. . They correspond to the ideals of the fashion industry and plastic surgery . In “Catwalk II” moves the figure like a model on the catwalk and presented as in a film report from a fashion show. The development of this series with the version of “Brush Maya”, 2011, transcends the boundaries between the real world and virtual world. Moved as a fictional character, Maya Brush in two worlds: the first time, leaving a virtual sculpture, the museum and art institutions dares step into the “real” life in the public media and global communication networks. Kirsten Geisler responds with “Maya Brush” on the increasing interconnectedness of our world: a virtual sculpture, whose body consists of a network of data, combined with his advocacy in the real world of media symbiosis with the global networks of our world.
www.ftn-books.com has the Virtual Beauties by Geisler publication available.
In her undergraduate days, she belonged to a milieu of young artists who formed a counter-movement to official GDR art policy. The artists pursued new experimental paths and devised alternative presentation formats in studios and private homes. In the early 1980s, Cornelia Schleime drew, painted and wrote poetry, explored performance art and eventually began making films. Her broad definition of art and her unconventional works and shows resulted in 1981 in an exhibition ban. In 1984, after several applications to leave the country, she moved from East to West Berlin. Almost her entire oeuvre up to that date remained in the GDR and has disappeared.
In West Berlin from the mid-1980s she attracted much acclaim for her multi-facetted work. After recreating pieces left behind in the GDR in poetic works resembling landscapes, Cornelia Schleime has focussed since the 1990s on figures and large-format portraits. Sources of inspiration are glossy magazines, reproductions of all kinds, but also personal photographs or snapshots found at flea markets. Through the intuitive act of drawing or painting, she turns those she depicts into something creative of her own, projecting them in new roles, symbolically emphasising the poses encountered or highlighting aspects with a touch of fantasy and irony.
www.ftn-books.com has the Willy Schoots exhibition catalogue now available.
Jun Kaneko was born in Nagoya, Japan in 1942. He studied painting with Satoshi Ogawa during his adolescence. He came to the United States in 1963 to continue his studies at Chouinard Institute of Art when his introduction to Fred Marer drew him to sculptural ceramics. He proceeded to study with Peter Voulkos, Paul Soldner, and Jerry Rothman in California during the time now defined as The Contemporary Ceramics Movement in America. The following decade, Kaneko taught at some of the nation’s leading art schools, including Scripps College, Rhode Island School of Design and Cranbrook Academy of Art.
Based in Omaha since 1986, Jun Kaneko has worked at several experimental studios including European Ceramic Work Center in The Netherlands, Otsuka Omi Ceramic Company in Japan, Fabric Workshop in Philadelphia PA, Bullseye Glass in Portland OR, Acadia Summer Arts Program in Bar Harbor ME, and Aguacate in Puerto Vallarta, Mexico. Over the course of his career he has partnered with industrial facilities to realize large-scale, hand-built sculptures. The first was his 1982-1983 Omaha Project at Omaha Brickworks. Later sculptures include his Fremont Project, completed in 1992-1994, and most recently his Pittsburg Project completed in 2004-2007. Most recently, Jun has been working at the Cuernavaca Raku ceramics studio, experimenting with new glazes and the unpredictability of raku.
ww.ftn-books.com has currently the ‘DUTCH SERIES” book by Kaneko available
Since the late 1960s, Jackie Winsor (b. 1941 St. John’s, Newfoundland, Canada) has been making sculpture that expands a Minimalist vocabulary of simple geometric forms, using unrefined materials and grids to investigate process and labor. Working by hand and spending years on some pieces, Winsor produces intimate, tactile sculptures that engage the relationship between interior and exterior. In 1979, the Museum of Modern Art presented a mid-career retrospective of Winsor’s work, the first retrospective show of a female artist in the MoMA’s department of Painting and Sculpture since 1946; the retrospective traveled to the Art Gallery of Ontario in Toronto and the Fort Worth Art Museum in Texas. Windsor was included in the 1977, 1979, and 1983 Biennial Exhibitions at the Whitney Museum, and in 1984 her work was featured in American Art Since 1970 at the Whitney Museum. P.S. 1 inaugurated its newly renovated space in Long Island City, Queens with a retrospective of her work in 1997. More recently, her one-person exhibition Jackie Winsor: With and Within was held at the Aldrich Contemporary Art Museum, Ridgefield, CT in 2014 – 2015. Winsor’s work is in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum in New York; The Art Institute of Chicago; the Detroit Institute of Art; and the Walker Art Center; among others.
www.ftn-books.com has currently the Domaine Kerguehennec catalogue from 1998 available.
