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van Gogh and Ruscha by David B.

It was a few days ago that David B. published on Facebook some photographs he had taken. Without knowing  where these were taken I immediately ralized that these could have been made some 50 even 120 years ago.

I refer to the Hollywood sign paintings by Ed Ruscha and the landscapes around Arles by Vincent van Gogh.

Without knowing, we have learned to look at objects, landscapes and forms like we are our own artists and  these observations must have influenced us in the way we look at the world around us and take and create our own art with the many pictures we nowadays can take with camera’s and phones. It even proves that art is important for those who have an open mind towards it. Learning from the art and artists they have encountered in museums and galeries, to create their own interprations of the world around them.

http://www.ftn-books.com has some very nice Ruscha and van Gogh titles available.

 

 

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Floor van Keulen added to the FTN art collection

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It was a long time on my wish list and ia finally could fullfill this wish. Since i met Floor van Keulen at the Haags Gemeentemuseum where he painted the  “Project room” at the Haags Gemeentemuseum in 1989.

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His wall drawings are extremely large narratives. You can discover human figuren, weapons, books and landscapes all within the same wall painting/drawing. Connected with eachother by more figures and objects, resulting in an almost abstract painting, but with so many details that are realistic. His stand alone paintings are scarce. Most of the time lare/extremely large and where his small drawings are just sketches and exercises for the large wall drawings. His paintings on paper are true paintings. Where his wall drawings are most of the time removed or painted over. His large “paintings” are permanent and one of these , from 1987 , i now have added to the FTN art collection.

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The following text was found on the Piet Heen eek site and shows a different approach to his art.

Human figures and cartoons are the only motifs in the repertoire of drawings created by Floor van Keulen since 1980. They appear to be randomly spread across the surface, components of a well-balanced composition without any specific meaning. Shapes effortlessly melt into one another, debate with each other; emotions occasionally flare up, only to harmoniously merge together afterwards.

Floor van Keulen appears to shirk from the formal experiment, the abstract art experiment, in which realistic and figurative art that set the tone for hundreds of years is brushed aside as a truly relevant form. Van Keulen does not allow himself to be drawn into movements or trends within contemporary art. He has developed his own unique vision and confrontational visual language in which figurative depictions are interwoven with abstract shapes.

His art originates in his imagination and reality. He uses the ‘vocabulary’ he has put together through the years to formulate a vision of the world around him. The viewer encounters the virtuosity of the image and gets carried away in the painter’s exuberant gesture. On closer analysis of what it is exactly that affects the viewer so strongly, he or she first focuses on the pattern and motifs, attempting to decipher the artist’s story by interpreting the figurative elements. Only later does he or she discover that it is the work as a whole that is key here, the total emotion, not the details, form and contra-form. At first glance, the work appears to be expressive, but on closer inspection, clearly has a more subdued character and is carefully balanced and considered.

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Stedelijk Museum “on line” visits

Blog readers know of the large collection i have for sale on the Stedelijk Museum, its artists and its exhibitions ( http://www.ftn-books.com), but it is hard to grow this collection . No book markets, no museum visits and the only thing i could do is to photograph and describe my stock and add this to my inventory. It has now grown over by 1100 entries and i am convinced it is one of the largest collections for sale on the Stedelijk Museum and itss history. But to bridge the time between closure and reopening its collections to visitors, they made available some interesting virtual visits to the museum and its collections. Guided by curators and director Rein Wolfs , you can now make a virtual visit. One of the best i think is the one Rein Wolfs hosts. It shows the direction into which the Stedelijk is developing for the next decade or so. Interesting…. yes…., but i do hope they still will keep their focus on their history and great collection, they build over the years.

 

 

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Dirk Vander Eecken (1954)

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I was trying to find some information on the Belgian artist Dirk Vander Eecken when i stumbled upon a painting by this artist. The work was sold nearby at auction. SO there i was at the viewing day…..It was there high up in the shade and badly presented to the public, but i decided to take the gamble and made a bid and won.

Now i have it in my sudy. It is there, proudly standing against one of my bookcases and i am getting more and more impressed by its qualities. It is a combinbation of painted papers, prints and tissues worked into two sides which appear to have no relation which each other accept……. study it closely and you will see that in the background of the right part a part of the composition of the left part is still visible. The right part has been overprinted/painted with some wooden/organic/vegetal parts making the painting much more complex and appealing. This painting is now for sale at http://www.ftn-blog.com ( ftn art).

It measuers 200 x 100 cm. signed by Vander Eecken and its condition is still excellent. For a viewing appointment please contatc me at ftnbooksandart@gmail.com. Vander Eecken has had exhibitions all over Europe and his works are present in the collection of the SMAK, Mhka and many more.

eecken a

 

 

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Dorothea Tanning and Max Ernst (7)

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Following a relationship with art patron Peggy Guggenheim, Max Ernst went on to marry his fourth wife, Dorothea Tanning. The couple – who famously fell in love over a game of chess – is credited as pioneering the Surrealist movement. Despite this successful accomplishment, Manning insisted that the two “Never, never talked art. Never.” Married in a double ceremony in Hollywood with Man Ray and Juliet Browner, the pair enjoyed surrounding themselves with other artists. Often, they would entertain the likes of Henri Cartier-Bresson in their home in France, seemingly thriving among fellow creatives. Dipping between Surrealism, Dadaism and everything in between, the pair continued their separate artistic practices and maintained a healthy marriage until Ernst’s death in 1976.

There are several Max Ernst publications available at www.ftn-books.com

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Gilbert & George (3)

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Gilbert Proesch and George Passmore

Just like a scene from your favourite rom-com, Gilbert and George first locked eyes in the halls of Central Saint Martins in 1967, where the two studied sculpture. Dubbing the encounter as love at first sight, the duo collaborated on both 3D as well as 2D works – although they would continue to refer to all artworks as sculpture. Exploring themes of religion, sexuality and identity across a wide range of media, Gilbert and George have stayed relevant beyond the confines of the elitist art. They married in 2008, having spent over 4 decades together in the art world that they collectively rebel against.

www.ftn-books.com has many Gilbert & George titles available

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Katharina Duwe and Johannes Duwe (1)

Because of the publication KUNST IM LANDTAG: PAARE on Katharina and Johannes Duwe I was inspired to devote a series of blogs to famous artist couples. Here is the first one. Not so famous this couple, but at the time of the publication ( available at http://www.ftn-books.com) presented as an artist couple at the DER LANDTAG venue. Of these two i have a personal preference….of these two i like Katharina over Johannes, but both have their own qualities.

Johannes Duwe was born in 1956 and was primarily inspired by the 1970s. Conceptualism is often perceived as a response to Minimalism, and the dominant art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all representative of a strong desire to progress and consolidate the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, featuring some of its most essential aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early philosophies of environmentalism. In Germany, Expressive figure painting was given a second chance for the first time since the decline of Abstract Expressionism almost two decades, the genre regained its distinction through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The cosmopolitan and refined position that New York city held in the 1960s remained just as influential in the 1970s. With multiple international renowned artists gravitating the galleries and downtown scene, the city once again strengthened its reputation as the artistic hub of the era. Across the globe, numerous movements defined the 1970s. Amongst others, feminism and the new radical philosophies it occasioned strongly influenced the visual culture. Photorealism, which had emerged in the 1960s, also received critical and commercial success. The critical, prominent artistic pillars of New York city started to embrace painters and sculptors from Latin America.

duwe paare

 

 

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Jan Wawrzyniak (1971)

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To be homnest, …..i did not know of Jan Wawrzyniak, but because of a recent auction i searched for his name, because i was very much attracted to a black/white/grey painting by this artist. It appeared that he always uses these three colors and combines these into abstract constructivist paintings. Sometinmes vague, sometimes hard edged, but always a sense of organic too. Great art and happy to have bought this.

Wawrzyniak a

Jan Wawrzyniak lives in Berlin

Solo Exhibitions

Forms of Aporia. Kajetan Berlin

2018

Drawn by the other. Galerie m Bochum

2017

last day … of may. M6 Annette Tietenberg Braunschweig

2016

Niche. Galerie m Bochum

2015

Unfinished. Curated by Erich Franz. Kunstverein Lippstadt

2014

Broken and Lost | Drawing. Curated by Alexander Klar. Museum Wiesbaden

Continued Drawing. Galerie m Bochum

2012

​​Zeichnerische Aporien. Museum Pfalzgalerie Kaiserslautern

​​2010

New pictorial spaces. Galerie m Bochum

​​​2009

Jan Wawrzyniak. Lippische Gesellschaft für Kunst Detmold​

Gezeichnete Bilder. Kunstmuseum Ahlen

​​2008

Gezeichnete Bilder. Museum Pfalzgalerie Kaiserslautern
Zeichnerische Aporien. Curated by Carmen Schliebe. Kunstmuseum Dieselkraftwerk Cottbus

​2007

Gezeichnete Bilder. Curated by Kai Uwe Schierz. Kunsthalle Erfurt
​2006

Fragil. Galerie m Bochum

​​2002

Stille Räume. Morat-Institut für Kunst und Kulturwissenschaft Freiburg
Stille Räume. Brühler Kunstverein
​2000

Ebenen + Pfade. Kunstraum MI Posselt Bonn

​Group Exhibitions

2019

Galerie m 3. Mai 1969 – 3. Mai 2019. Galerie m Bochum

2018

Form follows Fiction. Kajetan Berlin

No More Books! Intersexualitat Textual. Curated by Vicente da Palma. Art i Pensament Contemporani L’Hospitalet Barcelona

Ansichtssache. Curated by Eveline Weber. Kunstraum Alexander Bürkle Freiburg

Kunst und Kohle: Schwarz. Curated by Friederike Wappler. Kunstsammlungen der Ruhr-Univeristät – Museum unter Tage Bochum

2017

The Flying Field. Autowerkstatt Wilhelmsaue Berlin

2015

Weltsichten. 400 Jahre Landschaft in der Kunst. Kunsthalle Rostock  ​

Land in Sicht. Weserburg | Museum für moderne Kunst Bremen

2014   ​

Blank_Space. Galerie m Bochum

Entgrenzung. Positionen zur Zeichnung. Curated by Kornelia Röder. Künstlerhaus Schloss Plüschow

Weltsichten. Het landschap verbeeld in zees eeuwen kunst. Bonnenfantenmuseum Maastricht

2013   ​

We fragment, collect and narrate. Curated by Sayoko Nakahara. Cultuurcentrum Mechelen

Noch nie gesehen. Neue Schenkungen und Ankäufe für die grafische Sammlung. Kunstmuseum Bonn

​2012

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Kunstmuseum  Dieselkraftwerk Cottbus

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Kunstsammlungen Chemnitz

Aufbruch. Malerei und realer Raum. Kunsthalle Rostock

Aufbruch. Malerei und realer Raum. Museum im Kulturspeicher Würzburg

Aufbruch. Malerei und realer Raum. Museum Pfalzgalerie Kaiserslautern​

Aufbruch. Malerei und realer Raum. Akademie der Künste Berlin​​

Junge Akademie. Akademie der Künste Berlin
​2011

Aufbruch. Malerei und realer Raum. Stiftung Situation Kunst Bochum

Saxonia Paper. Kunsthalle Leipzig
Shelter: Art Against Trafficking Women and Sexual Exploitation. Peter Freeman Inc. New York​

Shelter: Art Against Trafficking Women and Sexual Exploitation. Galerie Urs Meile Luzern​

Shelter: Art Against Trafficking Women and Sexual Exploitation. Künstlerhaus Schloss Plüschow

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Museum Wiesbaden

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Kunsthalle Kiel

​2010

Weltsichten. Landschaft in der Kunst seit dem 17. Jahrhundert. Stiftung Situation Kunst Bochum​
2009

Blattgold. Zeitgenössische Grafik. Ausstellung des Kunstfonds im Sächsischen Staatsministerium der Finanzen. Dresden
2008

Nur der Schein trügt nicht. Das Sehen als interaktiver Prozess. Stiftung Situation Kunst Bochum​

​2004

Bochum sammelt II: Landschaftsbilder. Museum Bochum
1996

Von Schlachten – vom Schlachten. Kunstsammlung der Städtischen Museen Jena

​1993

Goethe-Institut Tel Aviv

1992

Frontiera. Forum junger Kunst in Europa. Curated by Matthias Flügge. Bolzano

Public Collections

​​

Kunstmuseum Ahlen

Lindenau-Museum Altenburg

Neuer Berliner Kunstverein (nbk)

Stiftung Situation Kunst Bochum

Kunstmuseum Bonn

Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland ​

Staatliche Kunstsammlungen Dresden

Museum Pfalzgalerie Kaiserslautern

Kolumba Kunstmuseum des Erzbistums Köln

Museum Morsbroich Leverkusen

Muzeum Sztuki Lodz

Kunstsammlung des Landes Sachsen-Anhalt Magdeburg

​Westfälisches Landesmuseum Münster

Kunstsammlungen Neubrandenburg

Museum Wiesbaden

 

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Chris Evans (1967)

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This article on Chris Evans comes from FRIEZE. He is one of the younger artists to feature in this daily FTN blog.

Artistic processes that involve commissioning others to produce work have often been fraught with unease. From the confused parameters of collaborative authorship to the unforeseen conflicts of interest that frequently arise, it is often difficult to sidestep the undercurrents of exploitation that vex this field of practice. One might imagine that in order to work with or within the corporate sector, an artist might need a degree of brashness and swagger. We might assume that he or she is intent on agitating, exposing or critiquing institutional structures. But what if, as in the work of British artist Chris Evans, this could be a far more generous proposition than preconceptions might suggest? ‘Clerk of Mind’ – Evans’s first solo exhibition in Ireland – highlighted the artist’s role as facilitator and translator between seemingly incongruous specialist fields, including international political relations and high-end jewellery design.

Praxes Center for Contemporary Art

Sensitively curated by Kate Strain, the show comprised the reconfiguration of three existing artworks never presented together before. Plans are currently underway for Project Arts Centre to commission new work by Evans in response to the Irish context. Probing the vehicle of co-authorship, CLODS, Diplomatic Letters (2012–ongoing) is a series of drawings of invasive plant species, sketched by invited members of the international diplomatic community, which were subsequently photographed by Evans, inverted and then printed as silver bromides. The tentative, almost courteous quality of the diplomats’ lines contrasted robustly with Evans’s cement and marble sculptural clods, and the slippery strips of PVC matting arranged across floor-level, custom-made platforms. Punctured with boreholes, the clods seemed to memorialize the negative space left behind when weeds are pulled from the ground. As co-authored works, these art objects are remnants of exchanges that remain partially hidden – an aesthetic in keeping with the wider curatorial approach at Project, which often presents the residual artefacts of earlier interventions in the gallery or elsewhere. In a similar vein, the textual remains of corporate negotiations featured in Evans’s concurrent exhibition ‘Untitled (Drippy Etiquette)’ at Piper Keys, London, which presented correspondence relating to the proposed rebranding of a dwindling socialist newspaper.

A Needle Walks into a Haystack (2014), named after the main exhibition at last year’s Liverpool Biennial, for which it was commissioned, comprises a vitrine housing a jemonite base and a dazzling, jewel-encrusted ring, crafted at Evans’s invitation, by high-end jewellers Boodles. The impish features of a golden ‘flowergirl’ are discernible amidst the ring’s glittering frondescence. Given that companies like Boodles might typically sponsor biennials or similar events, Evans proposed an alternative form of exchange, probing the space where art meets patronage. His design brief requested the creation of a piece of jewellery in response to the biennial’s press release – a rather excessive promotional statement including the key words ‘intimate’ and ‘domesticity’ – upon which the jewellers based their response, as explained in the literature accompanying ‘Clerk of Mind’. Mindful of their existing clientele and general perceptions of luxury brands, Boodles carefully scrutinized the terminology used to define the parameters of the commission. Treating the ring as an ‘artwork’ necessitated a contractual agreement outlining its shared ownership, the fact that it cannot be sold as a piece of jewellery and future transportation arrangements, to be implemented by Boodles’ own couriers.

As overseer of this kind of co-production, Evans acts as functionary (or ‘clerk’) – tracking the thoughts and intentions of his collaborators, while administering the practical arrangements and textual material which support the process. The artist has stated that he harbours no intention to critique particular groups, institutions or procedures; instead he hopes to forge relationships built on trust with figures whom he perceives to be especially misunderstood by the art world. Though the artworks are ultimately credited to Evans, the fact that he makes very visible the cooperative processes that lead to their production is an attempt to invalidate Romantic claims about the artist as ‘lone producer’ or ‘creative genius’. Conversely, Evans focuses on the capacity of artists to engage with a range of institutional, commercial and bureaucratic frameworks in a continuous process of reciprocal exchange. http://www.ftn-books.com has one Evans title available. The “Goofy Audit” is a future classic.

evans goofy a

 

 

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Jacob Jongert (1883-1942)

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Jac ( Jacob ) Jongert is one of the classic dutch designers. It is highly likely that you once have seen a design of his , since his van NELLE box has grown into a world famous design object from the Twenties/Thirties.

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It has been one of those iconic design objects executed in a style which have been of great influence to designers in the following decades. Look at the second poster and you will recognize that this typography and design elements must have influenced the POP ART designs from the Sixties.

But beside the avant garde designs there are so much more beautiful designs by Jongert and for those interested in Jongert and his design career i truly recommend the book which has been published in 2009 for the Jongert  special exhibition at the Boymans van Beuningen Museum. A book which shows why Jongert is important as a designer and what is more . The book itself is one of the best and most beautiful published books which i encountered in recent years. This book is now available at www.ftn-books.com