Jochen Gerz, a transcendent artist, defies simplistic categorization. His creations blur the boundaries between art, recollection, the past, and communal involvement. Throughout his extensive lifespan as an artist, Gerz has consistently deviated from conventional art forms, choosing to interact with individuals, societies, and public domains instead. His undertakings push the limits of distinction between the artist, the beholder, and the participant, compelling us to reevaluate not just the definition of art, but its intended audience and its potential to transform us. Join us as we delve into the profundity of Gerz’s work and comprehend why it remains profoundly pertinent in the present day and age.
Born in 1957, Lise Malinovsky received her education first at the School of Applied Arts and then at the Academy of Fine Arts. As early as 1982, while still a student at the Academy, she made her mark with her virtuosic pastiches at Charlottenborg’s Spring Exhibition. Here, she showcased her grounding in both fauvism and art history dating back to the Baroque period. While her works were not as wild as those of her contemporaries, there is – and still is to this day – a vibrant vitality and expressiveness in her spontaneous expression, especially through her bold colors and gestural brushstrokes. Lise Malinovsky’s artistic language is sensual and tactile, and while she has a clear message for the viewer, the subject is subordinate to her urge to express herself through painting. She has created a wide range of decorations and has also painted portraits, including that of former Prime Minister Poul Nyrup Rasmussen. Lise Malinovsky resides and works in both Denmark and Spain, constantly infusing her art with enigmatic complexity and linguistic dynamism that captivates viewers.
www.ftn-books.com has now the Willy Scvhoots publication on Malinovsky available.
Just to celebrate our new location a short reminder. FTN books & ARt has still a great se3lection of original Wim Crouwel material for sale. Among the items for sale are the impressive Stedelijk Museum posters he designde for the Stedelijk Museum Amsterdam in the 60’s and 70’s. Because we are glad that moving to Oegstgeest is finished you can buy these with a 10% discount in the coming week using code : Oegst10Crouw.
Visual artist Gillis of Oosten (1916–2005) spent most of his life in Delft, his birthplace. In the 1950s, he lived and worked on the French Mediterranean coast, including in Cannes and Menton. A large portion of his work went to Museum Prinsenhof Delft, some went to family, and now some is also on the market. Museum Prinsenhof Delft has included a representative cross-section of one hundred works by Van Oosten in its collection, aligning with the pillar of “Delft masters” at the museum.
Gillis of Oosten experimented with various techniques and media during his career, from paintings and drawings to silkscreens and perspex reliefs. His objects display different artistic movements. His work ranges from realistic landscapes and self-portraits to abstract splatter drawings with Indian ink. In the past, Museum Prinsenhof Delft has held several exhibitions on Van Oosten’s work. Soon, a small selection of his work (including “Harbor of Cannes” from 1954, see photo) will be on permanent display in the tower room of the old city hall on the market square.
As a curator, Sandberg held a deep admiration for Matisse as an artist, and it can be assumed that Sandberg, as an artist himself, must have drawn inspiration from the older master. This is evident in Sandberg’s famous paper cuttings, which were created during a period when he was battling an illness. Matisse himself referred to this technique as “painting with scissors.” Could it be possible that Matisse’s cut-outs were the source of inspiration for Sandberg’s use of modeled torn papers in his book designs? These torn pieces of paper, combined with carefully crafted layouts, resulted in highly personal and iconic publications by Sandberg. While there are certainly differences between the two artists’ works, they both existed during the same artistic period, making it plausible that Matisse’s technique influenced Sandberg’s use of paper.
However, the survival of these two types of artworks has been vastly different. Sandberg’s paper publications, printed on paper, have easily lasted for 50 years or more. On the other hand, Matisse’s fragile cut-outs require restoration in order to preserve them for future generations. In the past 10 years, two significant restoration projects have been undertaken. One of these projects was the restoration of Matisse’s large cut-out composition “La Perruche et la Sirène,” from the collection of the Stedelijk Museum Amsterdam. The other was a project at the Beyeler Museum, in which visitors were able to witness the progress of restoring a large canvas titled “Acanthes.” These restored works are now on display at their respective museums, showcasing the true splendor of Matisse’s art.
These accomplishments serve as a testament to why Matisse is widely regarded as one of the greatest artists of the last century. To learn more about these two remarkable artists, visit www.ftn-books.com for a selection of publications. www.ftn-books.com recently added the Picasso Matisse publication from the Stedelijk MUseum to its collection
Hailing from the year 1963 in Germany, Franz Ackermann currently resides and operates within the bustling cities of Berlin and Miami. His creative pursuits are fueled by the concept of travel as an immersive encounter, coupled with themes of displacement and observation. Through his vibrant and dynamic works, Ackermann skillfully interweaves bursts of saturated colors with layers of overlapping forms, which seamlessly meld with fragments of imagery captured from the multifaceted and ever-changing urban landscape. Delving deeper into the complexities of globalization and the impact of tourism on our society, Ackermann’s artistic explorations continue to evolve and captivate audiences worldwide.
About a month ago i took a small stack of books published in the late 40″s/50′ and was struck by the classic beauty of these designs. Timeless and still contemporary. From Left to right:
Revered as a leading contemporary Canadian photographer, Jeff Wall’s work delves into the complexities of images, representation, and memory. His larger-than-life photographs embody the visual style of advertisement, employing backlit transparencies and grandeur in their presentation. Known to recreate everyday moments, fiction, and art history in a “cinematographic” manner, he aptly dubs his work as “near documentary”. With a deep-rooted connection to his personal experiences, Wall explains, “[Near documentary] signifies that my pictures are inspired by my own encounters, and that I strive to capture those moments with utmost precision and accuracy.”
Having been born on September 29, 1946 in Vancouver, Canada, Wall attained his MA from the University of British Columbia in 1970. Dedicating his time to academia in the following decade, he pursued further education under the tutelage of renowned British historian T.J. Clark at the Courtauld Institute of Art in London. His background as a Conceptual artist and art historian paved the way for his exploration of diverse subjects, including Hokusai, Édouard Manet, and even novels like The Invisible Man. Garnering immense recognition, a print of his piece Dead Troops Talk (1993) shattered auction records at Christie’s in 2012 and was then the third highest-selling photograph ever.
Presently, his works are housed in the esteemed collections of Tate Gallery in London, the Art Institute of Chicago, the Hammer Museum in Los Angeles, and the Kunstmuseum Basel, to name a few. Holding steadfast to his roots, Wall continues to reside and create in his hometown of Vancouver, Canada.
At the spot where one would typically expect a human head, there is instead a skull of an animal or an exotic mask. The attire is equally diverse, ranging from traditional clothing of far-off lands to futuristic uniforms, fur coats, and sharply tailored suits. Cowboy boots, pink pumps, or sandals on their feet and an assortment of objects in hand: spears, guns, a stylish handbag, or a falcon. It’s often impossible for the viewer to discern whether the figure is male or female.
Schleiffert predominantly depicts these figures on a large scale, making them larger than life. Her choice of materials is varied, from chalk to paint and from faux fur to aluminum foil. Schleiffert works with compositions of imagery, using collages as a starting point for her drawings and paintings. Redrawing is important to Schleiffert because, in her own words, it allows her to avoid creating everything from imagination.
Themes of oppression, freedom, power, and gender play a central role in Schleiffert’s body of work. By combining different styles, eras, and locations, her work raises questions about tolerance in life: her potential figures display a longing for what should be possible. Schleiffert says, “My figures are not always content with their lives and dream of an alternative.”
In addition to drawings and paintings, Schleiffert also creates installations and sculptures. She studied at the Academy of Arts and Design in ‘s-Hertogenbosch (1985-1990) and at De Ateliers (1990-1992). In 1999, Schleiffert won the Prix de Rome. Her work has been exhibited at places such as Heden (The Hague), Museum Het Domein (Sittard), and CBK Drenthe (Assen).
Richard Deacon is a leading figure in British sculpture, renowned for his voluptuous and abstract forms since the 1980s. His extensive influence is reflected in the prominent public commissions of his works across the world. Deacon’s ingenuity lies in his insatiable desire for material, as he deftly transitions between laminated wood, stainless steel, corrugated iron, polycarbonate, marble, clay, vinyl, foam, and leather. As he eloquently puts it, “changing materials from one work to the next is a way of beginning again each time (and thus of finishing what had gone before)”.
Deacon himself identifies as a “fabricator”, highlighting the underlying construction of his completed pieces. Although his works are often cast, modeled, or carved by hand, the logic of their fabrication is laid bare. Sinuous curves may be bound by glue oozing between layers of wood, or screws and rivets may protrude from sheets of steel, exposing their inner workings. This transparency serves to underscore the interactive nature of the artistic process, as a constant dialogue between the artist and his chosen medium transforms the mundane into the metaphorical.
The concept of “fabrication” also conveys a sense of inventiveness, of creating something false rather than true. This clever play on words is evident in Deacon’s titles, which often juxtapose unexpected ideas or imbue new meaning in familiar phrases or cliches. Some noteworthy examples include Let’s not be Stupid (1991), No Stone Unturned (1999), Water Under the Bridge (2008), and Shiver My Timbers (2016).
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
