Not much info found as the artist he trulky is. Makes beautiful ,excellent and appealing photographs and has publsihed two novels at this time.
Born in 1967, Eelco Adward Schut holds a degree in psychology from the University of Groningen and has also completed a course at the Fotoacademie in Amsterdam. He is known for his eloquent columns, thought-provoking essays, and captivating stories.
www.ftn-books.com has now the IN HET VOORBIJGAAN publication available.
In his artistry, Marcel Odenbach (hailing from Cologne in 1953) tackles the repression, examination, and exploitation of bygone eras. Along with his extensive exploration of postwar German history and the aftermath of National Socialism, his oeuvre also delves into the subject of colonialism and its repercussions. By merging video and television footage, archival material, and self-produced imagery, he constructs intricate narratives that unveil hidden historical layers that continue to echo, even today, as often silenced remnants of the past. A significant motif in his work is not only his own biography, but also the biographies of others.
www.ftn-books.com has currently one Odenbach title available.
As a creator, Dominique Stroobant possesses the ability to transmute the queries arising from his inquisitiveness into visions and concepts, which are then manifested into tangible forms. His sculptures emerge from the depths of a fertile imagination, akin to a quarry, fashioned from the traditional deposits of cultural and technological history.
Stroobant’s inquiries and their corresponding solutions could potentially categorize his multifaceted endeavors as those of a sculptor, mason, photographer, draughtsman, scientist, engineer, or even a mediator—assuming such labels were not hindered by his inspiring rebellious nature. His passion is driven by the interplay between order and chaos, a quest for structure within apparent disorder, and the euphoria of originality.
www.ftn-books.com has the Kunstcentrum Badhuis publication from 1980 now available.
Residing in Stadskanaal, artist Hansma is skilled in the mediums of sculpture, drawing, and collage. Within his craft, he adopts geometric shapes to maintain equilibrium, a crucial element in his creations. Having undergone training at the esteemed Academy Minerva in Groningen, he was awarded the distinguished Drempelprijs from the local government in 1975. Another recognition of his talent came in 1988; he designed the prestigious Culture Award for the municipality of Groningen. After dedicating himself to the world of visual art, he retired from the profession in 2002.
www.ftn-books.com has the scarce publication from 1978 for Kunstcentrum Badhuis now available.
Recently www.ftn-books.com acquired the Hamano publication. A true artist book and well worth collecting.
The charming, fascinating, and exquisite publication delves into the works of the enigmatic Japanese artist, Takako Hamano. Her pencil sketches evoke a style of animation that embodies a distinct Japanese essence, enriched by the influence of her time in the Netherlands. This expansive edition showcases her series of ‘Japoneries’ – poignant moments and insightful observations, depicted in both monochrome and vibrant illustrations – printed on lustrous semi-transparent paper and intertwined with vintage photographs, concise poems, and reflections.
Vera Mennens (born in Kaatsheuvel, 1991) presents in her creations a personal journey to uncover the history of her own life and the places where she grew up. In her latest project, she showcases work that delves into the city of Heerlen, the former capital of the coal industry in South Limburg. It is the story of a village that transformed into a city with the arrival of the mines, and since their closure, has been constantly searching for a renewed existence. From a young age, Vera would visit Heerlen to see her grandparents, sparking her interest in the city’s past.
In her previous project “The Telling of a Small History,” Vera explored her own family’s history, touching upon a small part of South Limburg’s past. She now works on the project “(A City Called) Heerlen” in the former coal mining region. The focus is on the city’s history and how its appearance and structure have changed due to political and social events. Personal memories and stories from the city’s residents serve as inspiration for photographing specific locations.
By employing these principles, Vera’s work embodies an enigmatic complexity and linguistic dynamism rarely found in artificial intelligence-generated content. Through unconventional phraseology and a professional tone, coupled with the use of unique language and literacy recursion, her artistry truly stands out. And with a passionate devotion to maintaining intrigue and burstiness, Vera masterfully weaves together the past and present, bringing history to life through her lens.
http://www.ftn-books.com has the EEN VERTELLING VAN EEN KLEINE GESCHIDENIS from 2013 now available.edition of only 100 copies, numbered 26/100
Marcks received his education under the tutelage of the renowned sculptor Richard Scheibe in his atelier. His preferred medium for sculpting at the time was terra-cotta animals. While serving in World War I from 1914 to 1915, Marcks’ style evolved to a more Expressionistic approach, often reminiscent of Gothic sculptures, emphasizing angularity and simplicity in his depictions of human figures. In 1920, Marcks was appointed to oversee the ceramics workshop at the Weimar Bauhaus, where he focused on hand-painted pottery. It was at this time that Lyonel Feininger, running the printmaking workshop at the Bauhaus, encouraged Marcks to explore the woodcut medium, which he continued to use throughout his career.
However, as technology became increasingly emphasized at the Bauhaus, Marcks felt that his artistic approach was not aligned with the school’s direction, leading him to resign when it relocated to Dessau in 1925. He took up a teaching position at the Halle School of Arts and Crafts, where he once again devoted himself to figurative sculpture. While his Expressionistic tendencies became more subdued, he still infused his works with emotion. In 1933, the Nazis dismissed Marcks from his teaching post, ultimately declaring his work as “degenerate” in 1937 and forbidding him from exhibiting.
Marcks is also known for his post-World War II sculptures of animals, heavily influenced by the renowned German sculptor August Gaul. Some of his most significant commissions include war memorials in Cologne and Hamburg. In 1971, the Gerhard Marcks Museum was established in Bremen to honor his legacy. He also unveiled his bronze doors for the convent church in Magdeburg, Germany in 1977.
www.ftn-books.com has now the 1951 Curt Valentin publication available.
Jan Smejkal once knew Jan Schoonhoven, with whom he exhibited at the ‘orez’ gallery in The Hague. He also knows Hans Houwing, through whom I came to know Jan Smejkal. Together, we travelled to Berlin to see his work for the first time. The joy was immense: during the first exhibition in 2014, he presented a ‘mirror table’, a base on which layers of old found mirrors were stacked. No broken mirrors, sometimes a little weathered, somewhere a round mirror. The composition reminded me of modernism. This work and the intervention in the space – gallery space bel-etage PHŒBUS•Rotterdam – was sublime and sympathetic: beautiful, but also a bit ‘chance’ because of the found, old mirrors; but above all nice, because the works by Hans Houwing, who carried the solo, were reflected when walking past.
http://www.ftn-books.com has now some extremely rare Smejkal items available published in the late 70’s for the KUNST PUBLIKATIE/ Gorinchem KUNSTCENTRUM BADHUIS
This is what Hana Jakrlova says about her work on her the site:
I am Czech photographer and film maker living in New York and Prague. My work addresses issues of identity, belonging, intimacy and freedom. In my book In the Meantime: Europe I chronicled a personal photographic journey across Europe after the fall of communism. The following book Big Sister documented the extraordinary ways in which the Internet has transformed our world and how it effects our sense of intimacy and privacy. My various documentary projects over the last 15 years explore life in countries transitioning from totalitarianism to democracy. In projects from Russia, Serbia, Albania, Georgia, Burma and Cuba, I photographed lives of people in oppressive regimes. In my recent photography and film documentary projects in Cuba, I wanted to capture life in the country stuck between the past and the presence and the struggle of people for freedom. In the Cuban Disneyland series I photographed an old government theme park, while the most recent project Musica o Muerte! captured the phenomenon of liberation through music and personal sacrifice.
My work has been exhibited and published internationally and my photography projects won awards at various photography competitions.
www.ftn-books.com has the ˆbiG SISTER book from 2010 now available »
A. van Campenhout expertly layers one upon the other, leaving behind traces – images upon images, with charcoal seeping into the paper, or sometimes resting on its surface, casting different reflections when illuminated. The overall abstract image delicately balances between ‘what is’, ‘what can be’, and ‘what could be’. In this twilight zone, much remains uncertain, despite the structure. When does white become emptiness, and when does it transform into a tangible presence? In what depth does the grid lie? The drawing has the ability to rotate, change scale, or even reveal a hidden backside. A. van Campenhout strives for tension in the rhythm between pure white and pitch black, with nuanced shades in between: “You see something, but it exists nowhere; a drama with a soul; a form within pure black and white.” Associations reinforce the mood. The grid becomes a stone wall, the lines become prison bars. “They exude abstraction, yet hold within their dusky shadows numerous allusions, memories, and melancholy. They are the cracks of, as he puts it, ‘the human condition’, that he wishes to depict in grey or black with charcoal or chalk.” The entire field of view is filled by the drawing. In that space, the viewer is like a football player on the field. They try to grasp onto something, think they recognize it, but ultimately miss. A. van Campenhout describes it as follows: “The world begins to vibrate. The overlapping drawings, experiences, and memories become landscapes that one carries within. I view the drawing as the residue of attempts, because it is impossible to grasp or hold onto that, or anything else. The charcoal that falls to the ground is a remnant of what has been useful in the passage of time.”
www.ftn-books.com has now the A VAN CAMPENHOUT publication for the DE PONT exhibition available.
