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Toto Frima (1953)

Toto Frima rose to prominence in the 1980s with her self-portraits captured on a Polaroid camera (SX70) using a remote shutter release. These photographic pieces swiftly enchanted the entire continent of Europe with their small, often suggestive nature. One of the key factors in her success was the way her works perfectly mirrored the socio-cultural developments of the time: women were able to work without competing against men, technology was seen as subservient to the message being conveyed, and the focus was on the individual “I.”

In the early 1990s, Toto Frima once again drew public attention with her new 50×60 Polaroid works. As the larger equipment required shooting sessions to take place in a studio rather than on location, the intimacy of the previous works was lost. However, the theme remained the same. Toto portrayed herself in various ways, assuming different roles or incorporating diverse objects. Yet, in all cases, she continually referred to her own identity, which could also represent someone else. In 1990, the Rheinsische Landes Museum Bonn (Germany) dedicated a major exhibition to her, and a book of her 50×60 works was published.

This was followed by a period of silence, during which Toto completely disappeared from the public eye. For several years, she felt no specific urge to point the camera at herself. Instead, she embarked on a personal development that she did not document through photos. She distanced herself not only from her own work, but also from the entire realm of photography and the artistic environment, becoming a mere spectator. However, the desire to create eventually resurfaced, growing so strong that only new self-portraits could satisfy it. And so, Toto returned in 1988 with new SX70 photos, and in 1999, she worked in Prague with the 50×60 camera.

Her latest works reflect an evolution. They are stripped of extravagance and instead draw attention to the act of “watching” and “looking,” rather than being the object of attention. The voyeuristic elements have been deliberately eliminated.

www.ftn-books.com has 1 Frima title now available.

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Paul Robeson (1898-1976)

Paul Robeson, born in 1898 in Princeton, New Jersey, was the son of a Presbyterian minister who had escaped slavery and a mother from a distinguished Philadelphia family. He received a full scholarship to Rutgers University at the age of seventeen, and in just four years he accomplished a remarkable feat by receiving twelve major letters and being named valedictorian of his class. After graduating, he continued his education at Columbia University Law School, but faced racial struggles in his career as a lawyer that ultimately ended it. However, he soon found success in the world of public speaking and acting.

In the mid-1920s, Robeson became well-known for his lead roles in Eugene O’Neill’s plays “All God’s Chillun Got Wings” (1924) and “The Emperor Jones” (1925). Throughout the 1920s and 1930s, he garnered widespread acclaim as an actor and singer, captivating audiences with his signature song “Ol’ Man River.” He also achieved the longest-running Shakespeare play in Broadway history with his portrayal of “Othello,” which ran for nearly 300 performances and is still regarded as one of the greatest American productions of Shakespeare’s work. As his fame grew in the United States, he also gained international recognition and admiration. Speaking fifteen languages, he traveled the world to promote social justice through benefit performances. He strongly believed that public figures have a responsibility to advocate for justice and peace, making him unlike any other performer of his time.

The WEST museum devoted an exhibition to Robeson in 2023. The museum publication for visitors is now available at www.ftn-books.com

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Terry Thompson (1949)

In the realm of drawing, Terry Thompson reigns supreme, with the human figure taking center stage in his creations. From nudes to intertwined figures and anatomical studies, the central image in his drawings is often inspired by the depictions of the human body during the Renaissance. These figures are surrounded by peculiar and abstract forms, at times resembling mystical symbols.

Thompson’s pieces are reflective of his associative thought process, finding a connection between reason and emotion. The artist’s intention is not to reveal too many secrets behind his myth-inspired drawings, but rather to let the viewer wander through his enigmatic universe.

In addition, more than twenty years ago, Thompson stumbled upon sculpting by chance. A colleague gifted him a few kilos of modeling wax with the promise of casting the end result in bronze. It was love at first touch. The tactile element proved to be one of the many allures of sculpting. Furthermore, the difference in perspective when working in three dimensions and in relation to the surrounding space was what drew the artist towards this medium.

Although Thompson had solely worked in two-dimensional art until then, the sculptures seamlessly complemented his drawings. As a result, the appearance of the sculptures transformed over time, in sync with the drawings. From organic abstract to distinct figurative, his work has evolved into a blend of the two styles.

www.ftn-books.com has 2 Thompson titles now available.

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Paul Drissen (1963)

Crafting Art: The Enigmatic Complexity of Frail Gestures and Vulnerable Materials

When creating his art, the artist deliberately incorporates the use of frail and sometimes unpredictable movements and delicate materials, juxtaposing them with soft geometric shapes and lines. By showcasing the wall or a blank canvas as the “picture plane,” alongside elements or fragments that seem to exist in a temporary and scattered manner, the artist raises questions about our connection with the artwork as a whole. He symbolizes the absence of matter, whether it be the holes in the paper or the empty spaces between works, as if imbuing them with volume and an indescribable presence.

Through a minimalistic approach to painting and a deliberate restraint in his interventions, the artist directs our attention to the intricacies of his work, making us keenly aware of their structured and delicate nature. This manipulation of detail adds a layer of complexity and unpredictability to the art, causing the viewer to reassess their relationship with the image as they perceive it.

www.ftn-books.com has the scarce MELODERNIA publication now available.

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Richard Hamilton (1922-2011)

Hamilton was a native of London, receiving instruction from the Royal Academy Schools between the years of 1938 and 1940. He then proceeded to study engineering design at a Government Training Centre in 1940 before being employed as a designer for ‘jig and tool’ machinery. In 1946, he returned to the Royal Academy Schools, but was eventually expelled for his failure to grasp the teachings within the painting school (Hamilton, p.10). Despite this setback, he later attended the renowned Slade School of Art from 1948 to 1951.

In 1950, Gimpel Fils in London hosted an exhibition showcasing Hamilton’s engravings, inspired by D’Arcy Wentworth Thompson’s bold 1913 piece, On Growth and Form. The latter had recently been republished in 1942, exerting a profound influence on Hamilton’s nascent work. As a testament to his creative aptitude, he also devised and curated notable exhibitions such as Growth and Form, presented at the Institute of Contemporary Arts in 1951, and Man, Machine and Motion, held at the Hatton Gallery in Newcastle upon Tyne and again at the Institute of Contemporary Arts in 1955. Subsequently, he exhibited at the prestigious Hanover Gallery in 1955, and contributed to the seminal event of This is Tomorrow at the Whitechapel Gallery in 1956, where he presented a striking collage piece entitled Just what is it that makes today’s homes so different, so appealing? for the event’s accompanying poster and catalogue. Alongside fellow visionary Victor Pasmore in 1957, he orchestrated an Exhibit at the Hatton Gallery and the Institute of Contemporary Arts.

Notably, Hamilton was a prominent figure of the Independent Group, an assembly of artists and writers founded in the 1950s at the Institute of Contemporary Arts. Their symposiums played a pivotal role in shaping the burgeoning Pop art movement in Britain. Hamilton was also a steadfast proponent of critic Lawrence Alloway’s widely acclaimed thesis concerning the ‘fine/pop art continuum’. In his own interpretation, Hamilton viewed this concept as a means of establishing the principle of equality in art – proposing that there exists no hierarchical ranking of artistic value. To him, Elvis held the same standing as artists like Picasso, occupying two distinct ends of the artistic continuum. Furthermore, Hamilton strongly maintained that television deserved as much recognition and influence as the likes of New York Abstract Expressionism.

Hamilton served as an instructor at the London Central School of Arts and Crafts and the University of Newcastle upon Tyne, but ultimately retired from full-time teaching in 1966. He also made a typographic rendition of Duchamp’s Green Box, which was published in 1960. Working closely with Duchamp, Hamilton reconstructed The Bride Stripped Bare by her Bachelors, Even (The Large Glass) (Tate Gallery T02011) in 1965-6. In the 1980s, Hamilton delved into incorporating technology into his artwork. He has had a successful career as a print-maker, and in 1983 he received the prestigious World Print Council Award. In 1991, Hamilton tied the knot with fellow artist Rita Donagh. Retrospective exhibitions of his work have been on display at the Hanover Gallery in 1964, the Tate Gallery in 1970 and 1992, and internationally. In fact, Hamilton represented Britain at the esteemed 1993 Venice Biennale.

www.ftn-books.com has several Richard Hamilton titles available. Among them the spectacular Stedelijk Museum catalog.

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Walter Stöhrer (1937-2000)

Stöhrer, a former student of H.A.P. Griesbacher in Stuttgart, relocated to Berlin in 1959, where he cultivated his own unique style, which he christened as ‘intra-psychic realism’. This technique involves the use of bold, dynamic brushstrokes to overlay written characters and calligraphic symbols with vibrant hues.

In his piece for the Reichstag Building, Stöhrer began by taking an impression from a plate specifically created for dry point engraving. He then embellished this blue-grey background with intricate black markings, tiny figures, and curvaceous lines. Next, he enlivened parts of this initial sketch with fervent strokes of red, orange, and other vibrant colors.

However, despite the intense emotional outpouring in his artwork, Stöhrer’s expressive gestures do not overshadow the underlying drawing, which seems to defy their boldness by hinting at a mysterious void beyond. Although he remained loyal to certain aspects of Art Informel until the end of his days, the powerful emotions embodied in the bursts of color in his work allowed him to escape the pitfall of monotonous, repetitive decoration.

Stöhrer’s paintings often feature surreal elements, reminiscent of Art Brut, children’s drawings, and the artwork of the mentally ill. Beneath the boldly executed brushstrokes, these elements serve as symbols of a profound inner turmoil lurking beneath the extroverted brilliance of the vibrant colors.

In this sense, Stöhrer’s works can be seen as acts of mental self-assertion, a testament to his lifelong struggle against the demons that arise from the depths of irrationality.

www.ftn-books.com has two Stohrer publications now available.

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Tom Wesselmann (1931-2004)

Tom Wesselmann was brought into the world in Cincinnati, Ohio, on February 23, 1931. His educational journey consisted of a stint at Hiram College in Ohio from 1949 to 1951, followed by admission into the University of Cincinnati. However, his studies were interrupted in 1953 when he was required to serve in the army for two years; during this time, he dabbled in the art of cartooning. Upon returning to the university in 1954, he obtained a bachelor’s degree in psychology in 1956. It was during this period that he made the decision to pursue a career in cartooning, leading him to enroll at the Art Academy of Cincinnati. After completing his studies, he relocated to New York City and was accepted into the prestigious Cooper Union. It was here that his focus shifted dramatically to fine art, culminating in the receipt of his diploma in 1959.

Wesselmann swiftly cemented his position as one of the prominent Pop artists of the 1960s in America, choosing to reject abstract expressionism in favor of classical depictions of the human form, still life, and landscapes. To make images as arresting as the abstract expressionism he admired, he integrated everyday objects and advertising ephemera in his collages and assemblages. His most famous works include the Great American Nude series, featuring voluptuous forms and vibrant colors.

Through the 1970s, Wesselmann continued to delve deeper into the concepts and mediums that had captured his attention in the Sixties. Notably, he worked on his series of Standing Still Life, creating free-standing shaped canvases featuring small, intimate objects on a grand scale. In 1980, under the pseudonym of Slim Stealingworth, he penned an autobiography chronicling the evolution of his artistic journey. He also furthered his exploration of shaped canvases, first exhibited in the 1960s, and began crafting his first metal pieces. He spearheaded the development of a laser-cutting technique, allowing him to faithfully transfer his drawings onto cut-out metal. In the 1990s and early 2000s, Wesselmann continued to expand on these themes, producing abstract three-dimensional images that he referred to as “going back to what I had desperately been striving for in 1959.” With ruminations of old age swirling in his mind, he found himself back where it all began. In his waning years, the female form once again beckoned him, manifesting itself in his series of Sunset Nudes. These paintings on canvas were a culmination of bold compositions, abstract imagery, and sanguine moods reminiscent of the odalisques depicted by the likes of Henri Matisse.

For over forty years, Wesselmann’s creative energy thrived in the bustling streets of New York City. It was here where he resided with his wife, Claire, and their children, Jenny, Kate, and Lane. In the same city that fueled his artistic pursuits, William Wesselmann passed away on December 17, 2004.

www.ftn-books.com has some nice Wesselmann titles now available.

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Xenia Hausner (1951)

Hailing from Vienna, Austria, Xenia Hausner (born in 1951) has gained global recognition for her exceptional craftsmanship as an artist. Her trademark iconography features large-scale portraits, often depicting women, brimming with enigmatic complexity, fueled by her expressive use of dynamic and vibrant hues. Central to Hausner’s work are the concepts of humanity and the human condition, which she beautifully captures through the masterful interplay of radical colors and gestural brushstrokes. Her subjects are presented in a light that reflects their underlying vulnerability, loneliness, longing, and love. Drawing inspiration from her extensive travels, Hausner weaves in mental recollections and physical elements she has gathered during her journeys, and embellishes her pieces with photographs taken on her trips.

A graduate of the Vienna Painting Academy and the Royal Academy of Dramatic Art in London, Hausner’s entrance into the world of art was through her role as a set designer, starting her career at the Vienna Burgtheater in 1976. Over the span of 15 years, she lent her artistic vision to more than one hundred theater, opera, and film productions, including those at prestigious venues such as the Schiller Theater in Berlin, the Thalia Theater in Hamburg, and the Vienna State Opera. Her talent also graced major cultural events such as the Salzburg Festival, Covent Garden Opera in London, and the Theatre de la Monnaie in Brussels.

In 1992, Hausner relocated to Berlin, where she fully immersed herself in painting. She made a spectacular debut at the Martin Gropiusbau in Berlin with her exhibition “Die Kraft der Bilder” (The Craft of the Artist) in 1996, which was followed by solo shows in Salzburg and Vienna. That same year, Galerie Thomas in Munich featured her work in the exhibit “Menschenbilder.” Her pieces also caught the attention of a global audience at Art Cologne, thanks to a showcase by Galerie Thomas. In 1997, her work was highlighted at one-person exhibitions titled “Liebesfragmente” at the Museum Quarter Kunsthalle in Vienna and the Ludwig Museum in Leipzig.

www.ftn-books.com has one title on Hausner now available.

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Lewis Baltz (1945-2014)

Lewis Baltz, a native of Newport Beach, California, pursued higher education at the San Francisco Art Institute and obtained an MFA from the esteemed Claremont Graduate School in 1971. A successful stint as a freelance photographer in California followed, during which he also imparted his expertise as a photography instructor at esteemed institutions such as the California Institute of the Arts, University of California (Riverside and Santa Cruz), Yale, École Nationale Supérieure des Beaux-Arts in Paris, and the Art Academy of Helsinki.

Baltz has been recognized for his contributions to the field of photography with prominent displays in major exhibitions, including the renowned New Topographics at George Eastman House in 1975 and Mirrors and Windows at the Museum of Modern Art in 1978. His accolades include grants from the National Endowment for the Arts in 1973 and 1977, as well as a prestigious Guggenheim Fellowship in 1977. Additionally, Baltz has undertaken commissioned projects for esteemed institutions such as the Corcoran Gallery of Art, producing The Nation’s Capital in Photographs, and the Nevada State Arts Commission, resulting in Near Reno.

Since the mid-1980s, Baltz has been based in Europe and frequently jet sets across the globe. His photography typically revolves around a central theme or geographical focus and is often published in book form, exemplified by works such as The New Industrial Parks Near Irvine, California (1975), Nevada (1978), and Park City (1981). Baltz’s oeuvre, in sync with other artists associated with the New Topographics movement, challenges the conventional landscape photography style of the nineteenth century, as epitomized by icons like Timothy O’Sullivan, Carleton Watkins, and William Henry Jackson. His perspective on the landscape traverses beyond its natural beauty, lending insight into the impact of contemporary culture and suburban development on the nation’s terrain. His books, Rule Without Exception (1991), Lewis Baltz: Politics of Bacteria, and Docile Bodies, Ronde de Nuit (1998), feature splendid color photography capturing Europe’s urban landscapes.

www.ftn-books.com has the Stedelijk Museum catalog for the Baltz exhibition now available.

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Jean Miotte (1926-2016)

Jean Miotte stands as a distinguished figure of lyrical abstraction within the New School of Paris. From the outset, he has favored gestures and action as a means to convey emotion, bearing witness to his complex relationship with sensitive reality. His discourse is rooted in a semantical understanding where he views the sign as the “I” who paints; as he declares, “I am painting.” Miotte’s approach exists at the intersection of two extremes: on one hand, a writing that reaches the pinnacle of thought and sensation, and on the other, a joint and exuberant spontaneity that immerses oneself in a Zen spirit. This calling to the void became more prominent in 1962 after regular visits to New York, where he formed bonds with Rothko and Motherwell. Miotte pays homage to white, which transforms into light and “radiates and erases limits,” according to him. The fluid space is bisected by vigorous flat areas, extending into hemmed waves that are torn apart in a spatial labyrinth, its complacent pitfalls suppressed.

His paintings display a return to polychromy, with a palette of pure tones, favoring the primaries that he exploits for their sounds. The use of brushes, spatulas, and knives allows for the effervescence of a cursive graphic design, with rich, vibrant, and sharp accents that create a dynamic universe governed by contradictory and dual forces. A dispersion emerged in the seventies and eighties, leading to a new cycle centered on metamorphosis. Between violence and refinement, density and transparency, fervor and revolt, Jean Miotte’s paintings achieve a quivering balance of life. The rhythmic arabesque of its forms echoes the dance that inspires it. The unity of his language is realized in this formless lyricism, reaching a pictorial plenitude by giving substance to his sensations of light and embodying an indefinable sacred energy of living.

Jean Miotte, who has exhibited in Paris alongside Joan Mitchell, Jean-Paul Riopelle, and Sam Francis, is a prominent figure in the world of art.

www.ftn-books.com has several publications on Miotte now available.