We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Upon completing his education in the arts, James Rosenquist made a living by painting billboards. This seems to have been a crucial source of inspiration for his artistry. Rosenquist’s main focus was on large-scale paintings, which combined images from popular culture, such as advertising and pop music. As a result, his work is established as one of the key components in the evolution of Pop Art in the 1960s in the United States. However, unlike other Pop Art artists, Rosenquist’s creations often possess a deeper, political significance.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Hailing from the bustling city of New York in the year 1953, Halley has gained recognition for his masterful geometric paintings.
For a span of more than twenty-five years, the geometric paintings of Peter Halley have embarked on a complex game, aptly dubbed as “prisons” and “cells”, offering a reflection of the ever-growing prevalence of geometry in the social sphere. Drawing inspiration from New York’s gridded urban layout and the loneliness experienced by individuals within it, he envisions geometric shapes as barred prison cells, connected to the outside world solely through electronic means of communication. Alongside being an accomplished author, Halley also imparted his knowledge to students while honing his skills in painting and printmaking at Yale University’s School of the Arts from 2002 to 2011. Currently, he resides and continues to create in the vibrant city of New York.
When creating his paintings, Gubbels assigns an almost character-like personality to the coffee pot – which he usually refers to as a kettle. It can be seen sitting on a chair at a table or meeting other brightly colored kettles within the two-dimensional space of the canvas. The physical characteristics of the coffee pot vary: a double handle, heart-shaped, multiple spouts, and even legs. Gubbels states that he wants to break the monotony. Hence, the subject matter remains the same, yet the resulting work is always different. Gubbels explains it as follows when talking about his series of “Super boring still lifes”: “I purposely want to turn the dullness around. So that the boredom becomes something.”
Gubbels carefully considers what to erase and what to leave in. He ponders whether or not to remove the charcoal lines that sometimes run alongside the outlines of the painted shapes. He is not interested in making a painting more aesthetically pleasing. “Stupid, strict rules” – in Gubbels’ own words – hold him back from doing so. A painting should remain as it is; aesthetics should not be a guiding principle.
The limited number of subjects that Gubbels uses as a starting point consist mainly of a table, coffee pot, chair, cup, and occasionally a bottle or funnel. They are sometimes painted in bright blue or flaming red, and other times in more subdued shades of gray.
Aside from paintings, Gubbels also creates prints and sculptures. He studied at the Willem de Kooning Academy in Rotterdam (1951-1952) and continued his education at the art academy in Arnhem (1952-1958). Exhibitions of his work have been shown at Museum Arnhem, Paleis Soestdijk (Baarn), and Livingstone Gallery (The Hague), among others.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed
During the early 1980s, Robert Combas introduced a new form of figurative painting that left a lasting impact on the art scene. His pioneering work in the movement dubbed “Figuration Libre” by Ben Vautier brought together other notable artists such as Rémi Blanchard, François Boisrond, and Hervé Di Rosa.
Inspired by a sense of freedom, this art form boldly depicts various aspects of society such as violence, sexuality, human suffering, and simple pleasures. It also sheds light on societal flaws and narrow-mindedness, as well as moments of greatness.
Influenced by rock culture, popular imagery, childhood literature, school textbooks, and all that defines popular culture accessible to the masses, my approach sometimes involves using abstract techniques, reminiscent of abstract expressionism. However, the humorous and down-to-earth side of me is reflected in the figurative aspect of my work. It was initially a response to the intellectual paintings of the mid-seventies. Growing up in a working-class background and navigating through two different worlds, my paintings hold a deeper meaning. They exude a sense of boundless energy and offer a glimpse into my unrestricted creativity. Unlike cartoons, where one must adhere to set characters, my paintings grant me complete freedom – even with the format.
www.ftn-books.com has a special selection of books on Combas available.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Lawrence Weiner was a conceptual artist and self-taught. He was early on impressed by Frank Stella and Jasper Johns. Verbal elements – texts and signs – play an important role in his work. He often presents cryptic texts, strongly magnified, on walls of museums and galleries, but also on graphics, photos, and everyday objects. The words form verbal abstractions of the artwork conceived by Weiner. It only comes to life in the mind of the spectator when they read the text and try to understand it.
Since 1970, Weiner has alternated between living in New York and Amsterdam, where he also creates books and graphics, often combining them with geometric graphic forms. For him, language is the most abstract thing that we have developed. He considers texts as sculptures that come alive in the minds of spectators.
Lawrence Weiner wants to break and change the conventional understanding of “visual art.” Initially, he worked with spray cans to let fire or bleach work on a fabric. In the late 1960s, that gave way to words, or statements. Over time, the texts became more abstract, philosophical, and poetic. He used adhesive letters to express his ideas.
Weiner also made films, in which texts were spoken and depicted. He is considered one of the first representatives of conceptual art. Later, he would also collaborate on performances in which artists made their own bodies the subject of the action: body art. In the Netherlands, Lawrence Weiner had major exhibitions at the Van Abbemuseum (Eindhoven, 1976) and the Stedelijk Museum (Amsterdam, 1988/89). At the Spui in Amsterdam, Weiner’s work “A Translation” lies, from one language to another, a commission from the University of Amsterdam to make it more visible in the city.
www.ftn-books.com just added 3 important Weiner titles to its collection.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Carl Andre was a sculptor and poet, known for his contributions to the minimal art movement. A central theme in his work is the juxtaposition of objects within space, often represented through stacked bricks or other simple materials to disrupt the imagined flow within a setting, such as a museum.
Andre’s education in art took place at academies in the United States and Europe, but his career took a different path before he became an artist. He worked as a magazine editor, army officer, and train conductor.
In the 1960s, he focused on creating sculptural pieces using easily attainable, ordinary materials. The work of Frank Stella, his studio mate, and Constantin Brâncuși’s sculptures had a significant influence on his early works, resulting in many vertical wooden sculptures. However, he eventually found this style unsatisfying and shifted his focus to creating horizontal works. His large metal plates, placed in a perfect square on the ground, became his most iconic pieces. These can be seen in museums across the Netherlands, including the Kunstmuseum in The Hague, Kröller-Muller in Otterlo, and the Van Abbemuseum in Eindhoven. The viewer is intended to walk around, over and along these pieces, although not everyone appreciates this method of viewing.
In 1968, Andre was invited to participate in Documenta 4 in Kassel. He also participated in the 6th (1977) and 7th (1982) editions. This five-yearly exhibition in Kassel is considered the most important global showcase for contemporary art since its inception in 1955.
Carl Andre frequently works with stone, such as in his Stone Field Sculpture (1977) where he arranged thirty-six colossal stones in a grass field, some weighing nearly eleven tons. His fascination with stones is likely connected to his hometown of Quincy, Massachusetts, where there are many old quarries.
Because of my perdonal fascination with this artist i acquired some very important Andre titles. Now available at www.ftn-books.com
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We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Sigmar Polke (Oleśnica, February 13, 1941 – Cologne, June 11, 2010) was a prolific German painter and photographer. His oeuvre gained renown in the early 1960s as a form of capitalist realism, often considered the European counterpart of pop art. He repeatedly topped the list of best-selling artists.
Polke taught himself to master cameras and employed a multitude of colorants, varnishes, and exotic chemicals in his paintings. His subject matter often includes images from antiquated books and modern magazines, as well as advertisements from the consumerist society. Within his work, he employs elements of irony, as seen in titles such as: “Higher beings commanded me to paint the upper right corner black” (German: “Höhere Wesen befahlen: Rechte obere Ecke schwarz malen!”). Sigmar Polke was the brother of Wilfrid Polke, also a painter.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Human Writer Action.
In the realm of art, enigmatic complexity and linguistic dynamism reign supreme. This can be seen in the works of Lucio Fontana, a pioneer of environments and abstract art. His famous “Concetto spaziale” works, in which he cut and pierced the canvas, are considered to be part of the conceptual art movement. However, Fontana did not limit himself to painting, as he also dabbled in jewelry design.
Fontana’s influence in the art world was significant, particularly in the 1960s. His return to Milan in 1947 marked the beginning of his “Movimento spaziale,” based on his theories as expressed in his 1946 manifesto, “Manifiesto blanco.”
Fontana’s work as a sculptor showcased his desire to merge form and space, evident in his “Tagli” and “Bucchi” pieces, where he sliced and punctured his usually monochromatic canvases in a precise, cool, and refined manner. The colors he used, much like the works of Yves Klein and Piero Manzoni, were bold, solid, and flawless.
Incorporating new materials and ideas into his art, Fontana also aimed to emphasize the growth of technology. He experimented with techniques such as adorning his canvases with precious gemstones. For Fontana, the act of creating the artwork was just as important as the final result; each stroke and gesture spoke for itself, forming a unique and mesmerizing piece.
Contrastingly, Jackson Pollock’s action painting creates a frozen memory of the action itself – the rhythmic dripping of paint over large canvases on the ground. However, by cutting into the canvas, the painting becomes a spatial image; light is then able to come from both the front and behind simultaneously, transforming the canvas from a flat surface to a dynamic element within the space. The tagli (slashes) of Lucio Fontana are arguably even more transformative than Kasimir Malewitsj’s black square. With Fontana’s work, one can no longer speak of different art disciplines such as painting and sculpture, but rather an integrated work that consists of elements from installation, performance, happening, and environment. He blurs the boundaries between flat and spatial art forms in their entirety.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Christian Boltanski, a contemporary French Conceptual artist, best known for his evocative photographic installations, constantly explores themes of life, death, and memory through his practice, often delving into the complexity of the Holocaust. He deftly blurs the lines between reality and fiction, as he once remarked, “You can convey the truth more authentically through means other than the truth itself.” In his seminal piece “La traversée de la vie” (2015), Boltanski utilized the same photographs he had used in 1971 for “Album des photos de la Famille D.” However, this time, the images were enlarged, printed on fabric, and illuminated by hanging lightbulbs, inviting viewers to walk through and immerse themselves in the experience. The artist, born on September 6, 1944, in Paris, France to a father of Jewish descent, has been greatly impacted by the events of World War II, which continue to resonate throughout his work. Turning to objects as placeholders for the absence of subjects, Boltanski imbues his practice with elements of spirituality and meditation, following in the footsteps of pioneers of Conceptual art from the 1960s and 1970s, such as Joseph Beuys. His work has been acquired by prestigious institutions such as The Museum of Modern Art in New York, the Tate Gallery in London, and the Centre Georges Pompidou in Paris, cementing his place in the canon of contemporary art. Boltanski currently resides and works in Malakoff, France, continuously pushing the boundaries of enigmatic complexity and linguistic dynamism.
We are relocating! In the coming weeks we will be occupied with packing and moving our internet store inventory. The entire collection needs to be transferred from Leidschendam to Oegstgeest, and this will take some time. If all goes according to plan, we will be fully operational again on November 21st, but until then, it may happen that we are unable to immediately assist you with your order. We ask for your understanding, but as soon as possible, your order will be fulfilled with the utmost speed.
Robin Winters is a conceptual artist whose work spans a wide range of media, including poetry, painting, sculpture (bronze and ceramic), installation art, and photography. Winters is known for his practice in Relational Aesthetics and has incorporated practices such as blind dates, double dates, and divination into his artistic works. W.B Bearman Bags a Job was one of the pieces in which he would invite his audience into a box he had created. While the audience and he were separated by a two-way mirror, he would speak with them, play music, and tell their future. There are several recurring themes in all of Winters’ work, including faces, boats, cars, and the image of the fool. In addition to his own artistic endeavors, Winters is also an art instructor and currently teaches at the School of Visual Arts in New York.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
