FTN-blog

In 1965, the American art critic Lucy Lippard wrote about one of Richard Tuttle’s (1941-) wall mounted objects, saying that they were “hovering between two and three dimensions,” and had “an air of indecision that is difficult to separate from their modesty.”

Bodil Nielsen’s paintings possess the generous quality of giving more space than they take, both physically and mentally, against all logic.

The layers of meaning found in her works are calibrated with such gentleness that the viewer finds a weight and peace in lingering over them. But nothing is still about them. On the contrary, there is a continuous vibrating sensuality in her works, fueled by the fact that there is no central perspective in Nielsen’s universe. Everything is always relational and, as Lippard suggests, ambiguous.

Her boundary-defining work with the “open” nature of painting offers innovative interpretations of the medium’s ability to embrace scale, the indefinable, and a multi-sensory perception.

The American artist Agnes Martin (1912-2004), along with Richard Tuttle, serve as references for me in encountering art that embodies these qualities. Like Bodil Nielsen in this exhibition, they moved between painting, paper, and textile work. Martin lived and worked in isolation in the desert of New Mexico, and she painted her works in a state of, in her own words, “not thinking.”

In Nielsen’s case, the intellect is similarly set aside in favor of an intuitive clarity that generates a unique state of presence and closeness when the viewer allows associative thought streams to flow in encountering her works. For over 30 years, Bodil Nielsen has consciously and deeply listened to – and processed – the boundaries of painting. Color and form, in particular, have been explored in fluctuating open and “temporary” situations and relationships.

www.ftn-books.com has 1 Nielsen book available.

Belgian sculptor and graphic artist, Dominique Stroobant (born 1947 in Antwerp) currently resides and works in Carrara, Italy. He co-founded the Floating Stones Group in 1972 with Kenneth Davis and Philippe Toussaint. In 1977, Stroobant delved into the world of heliographs, using a pinhole camera to capture the ethereal movements of the sun. With numerous solo exhibitions in both domestic and foreign settings, as well as participation in group exhibitions and symposia centered on stone sculpture, Stroobant has stayed at the forefront of the art world.

In his formative years, Stroobant honed his craft by sculpting stones and experimenting with lithophones. In collaboration with painter Jef Verheyen, he crafted exquisite marble pieces in the 70s that he continues to create to this day. His interest in film blossomed in the 70s, inspiring him to create unique cameras and recorders of various shapes and sizes.

www.ftn-books.com has a few Stroobant titles available.

Jean René Bazaine was born on December 21, 1904, in Paris. Bazaine pursued studies in philosophy and literature at the Sorbonne, and briefly attended the École nationale supérieure des beaux-arts. He also later visited the Académie Julian, where he studied sculpture.

In 1930, his paintings were first exhibited in a group exhibition in Paris. Two years later, at his first solo exhibition at Galerie Van Leer, he met Pierre Bonnard. This renowned artist provided him with valuable advice and encouragement to continue painting.

Bazaine’s abstract paintings reveal a profound connection with nature. In addition to paintings, Jean Bazaine also designed numerous stained-glass windows for churches in France. The Saint-Séverin in Paris and the church of Assy are prime examples. He spent five years creating the seven stained-glass windows along the ambulatory of the Saint-Séverin.

In 1958, Bazaine gained fame for creating mosaics for the headquarters of UNESCO in Paris. He also designed decorations for the Cluny-La Sorbonne metro station in Paris, incorporating the signatures of hundreds of writers and philosophers into the design. Jean Bazaine also published several books on art and wrote about his work.

The work of Jean Bazaine was showcased at numerous foreign exhibitions. His work was first seen in 1946 at the Stedelijk Museum in Amsterdam. It was also displayed multiple times at the Venice Biennale, and he was invited three times to participate in Documenta exhibitions in Kassel. Bazaine was awarded the Grand Prix national des Arts in 1964, and in 1980, he was named Commandeur des Arts et des Lettres.

www.ftn-books.com has several Bazaine titles available.

Sorry no portrait photo this time!

He was trained as a ceramic painter, but Frans van Katwijk (1893-1952), resident of Gouda, developed into an artistic director at the Plateelbakkerij Schoonhoven. In 1927-1928, he made his breakthrough with the development of art glazes. Presumably, first on hand-turned terracotta, mainly with a matte green glaze, later he excelled with a sparkling color palette that was extremely exuberant for the time of the crisis. Further research reveals that in the first half of 1928, Van Katwijk was a visiting student at the Institute for Applied Arts in Amsterdam, studying ceramics under Bert Nienhuis. In the early 1930s, it appears that he was influenced in terms of design by Fons Decker, a designer at Plateelbakkerij Zuid-Holland.

www.ftn-books.com has some lieterature available on van Katwijk and the plateelbakkerij Schoonhoven and van Katwijk

The fascination in his early works leads to exuberant and colorful paintings and collages, adorned with decorative elements and gold paint. As time went on, the images became calmer, with larger forms and mysterious objects that would shine in the darkness. Bert Vredegoor recalls, “I noticed that my large paintings were getting darker because I wanted to evoke the suggestion of subtle sources of light. And because you start with a white canvas, that requires a lot of paint, time, and effort. I wanted to reverse this process: what if I start in the dark and let the light emerge? In my search to achieve this idea, I experimented with bleach on various materials. These experiments ultimately led me to velvet, as nothing is as deep black as black velvet. With a drop of chlorine solution, a beautiful golden light would appear in the black velvet. Technique and content suddenly came together because this chemical process, which literally created light in the darkness, perfectly reflected my theme: the search for enlightenment in a finite existence.”

www.ftn-books.com has some Vredegoor titles available.

Bas Zoontjens stands as a prime example of an artist who deftly wields his craft to produce breathtaking canvases without an over-reliance on technology. In an intriguing juxtaposition, the simplicity of his artistic methods is complemented by the profound images and concepts that permeate his work. One glance at his masterpieces is enough to transport the viewer on a voyage through the expanses of time, space, and a dimension yet to be discovered by mankind. A Dutch artist, Bas divides his time between The Hague and Berlin. Armed with degrees from the Royal Academy of Art & Design and the Grafic Lyceum Eindhoven, he has been the recipient of numerous grants and stipends from prestigious institutions in the Netherlands.

In a contemplative mood, one may discern a depiction of an extraterrestrial invasion or an intergalactic battle unfolding in his paintings. The pieces seem to interconnect, bringing a sense of synthesis to a state of fragmentation. Bright, vivid colors are utilized by Bas to delineate the boundaries between time, space, and the enigmatic unknown. Akin to a sci-fi movie, his paintings unveil the saga of humanity locked in a ceaseless struggle between the forces of destruction and destruction itself. Delving deeper into his work, one might find that there is little respite for the human race amidst the brushstrokes. Surprisingly, many of his pieces conceal a malevolent, untamed energy within their surrealistic forms. Such malevolence may be beyond the grasp of the human mind, hinting at an uncertain fate for our species. The future of humankind is shrouded in uncertainty, with one potential outcome being the annihilation of our entire existence by an unimaginable catastrophe from the depths of outer space.

www.ftn-books.com has one Zoontjes title available

Born to Italian parents in Argentina, Emilio Pettoruti embarked on a significant journey to Europe, residing there from 1913 to 1924. During this time, he directly engaged with avant-garde groups, although he did not adhere strictly to any specific movement. One of his most notable works, La del Abanico Verde o El abanico verde (1919), captures Pettoruti’s distinct vision of modern art.

In this piece, the woman’s body is deconstructed into geometric forms, with a fan grasped in her hand. The swirling curves of the fan in motion are echoed in the lines surrounding the woman’s head, highlighting Pettoruti’s fascination with capturing dynamic movement. This interest in motion was shared with the Italian Futurists, a group that inspired Pettoruti during his time in Europe.

Through the folds of the fan, Pettoruti also demonstrates his mastery of fragmented and successive planes, a hallmark of Cubism. However, the woman’s pink dress offers a departure from the usual chromatic sobriety associated with this movement. Instead, it evokes the rosy hues seen in Fra Angelico’s paintings of angels, an artist whom Pettoruti had studied.

First displayed in Milan in 1919, where Pettoruti was residing at the time, this painting showcases his unique style that fuses elements from various artistic movements. A true testament to his artistic prowess and global influences.

www.ftn-books.com has one Pettorutti title available.

Kristin Jones and Andrew Ginzel have been collaborating since 1985, creating numerous commissioned projects for both private and public clients, as well as internationally renowned museums and galleries. Their current major works can be found at the Visual Arts Complex of the University of Colorado – Boulder, the Hoboken Ferry Terminal in New Jersey, the airports of Kansas City and Tampa, the Tiber River in Rome, and various public buildings in Orlando, Chicago, Utah, and St. Louis.

Their site-specific installations can be seen in public institutions and spaces, including the Olympics in Atlanta, Georgia, New York City’s 42nd Street and Brooklyn Bridge Anchorage for Creative Time, P.S. 1 Museum, New Museum, and City Hall Park with the Public Art Fund. Nationally, their work has been exhibited at the Chicago Cultural Center, Madison Art Center, MIT’s List Visual Arts Center, Wadsworth Athenaeum, and the Virginia Museum of Fine Arts. Internationally, they have created major works for Rome at the Aquario Romano, Kunsthalle in Basel, Switzerland, Museo d’Arte Contemporanea in Prato, Italy, and the Trienalle in New Delhi, India.

Their public projects have adorned prominent buildings in Portland, Oregon, Philadelphia, Pennsylvania, and Milwaukee, Minnesota. In New York City, they have completed projects for Stuyvesant High School, PS 102, Union Square’s Metronome, and Oculus in the World Trade Center subway station for the Metropolitan Transit Authority.

Their work with performance extends to collaborations with the Next Wave Festival, renowned choreographer Merce Cunningham, musicians Ed Campion and David Dorfman, and the Creation Company.

www.ftn-books.com has one Jones/Genzel title available

Born in 1957, Michael Clegg and Martin Guttmannoriginally come from Dublin and Jerusalem, respectively. They both ventured to New York, where they crossed paths as students in Joseph Kosuth’s class at the School of Visual Arts. Since 1980, they have been seamlessly collaborating as a dynamic artist duo.

In their diverse body of work encompassing photographs, installations, material collections, interviews, and videos, Clegg & Guttmann boldly challenge and redefine the traditional genre of portraiture. They skillfully craft communication and collaboration models, inviting and reshaping the viewer’s participation.

Since their emergence on the international contemporary art scene in the early 1980s, Clegg & Guttmann have harnessed a visual rhetoric reminiscent of the bourgeois portraits from the Dutch Golden Age. At the same time, they cleverly reference group images that embody the dominant powers of the 20th and 21st centuries. By utilizing the conventions of 17th century Dutch portraiture, Clegg & Guttmann boldly position the subjects in a modern context.

The exhibition at the Konschthal Esch showcases Clegg & Guttmann’s striking portraits, which were originally rejected commissions. The duo follows a distinct protocol in their artistic process, where the subjects commission a portrait from the artists but have the liberty to decline the final result. Despite this, Clegg & Guttmann retain the right to exhibit and publish the work, which remains their property, even if the commissioner rejects it. This strategic reversal also serves as a symbolic commentary on power dynamics within the realm of portraiture.

www.ftn-books.com has now one title on this artist duo available