Maybe not as known as many of his contemporaries, but still known by those who specialize in small and scarce publications. I stumbled upon van Dijk and his publications some 10 years ago when i discovered 2 small publications published by the Brummelse Uitgeverij voort luxe werkjes. Both titled ” VARKENSLAPPEN ” but with a difference.
One published as a small book. the other in an envelope containig the illustrations as postcards. I tried to find moer information on bot of these publications , but only found that the van Dijk publications are publisehd in very small editrions of around 30 copies.
Both are published by the BRUMMELSE UITGEVERIJ VOOR LUXE WERKJES in 1977 and both are now for sale at www.ftn-books.com
It took me along time to fianally appreciate the sculptures by van Dijk. At first i thought them to be too much copies of Judd sculptures, but i discovered them to be completely different. Why….surface , composition and construction differ from the one by Donald Judd. Still i consider his sculptures to be Minimal art and not constructivist.
He was born in 1952 in Pernis, is a Dutch artist. The steel sculptures of Cor van Dijk are characterised by clear lines and geometric shapes. From first stages of their design, the material used for these works – steel – and their realisation are inextricably linked. To create his work, the artist uses separate sheets of solid steel, which he joins together with extreme precision. Van Dijk bases the dimensions of his sculptures on the standard gauge of the sheet metal. As a result, the mill scale found on the rolled steel is left intact in the finished works.
Viewing Van Dijk’s sculptures, one’s eyes constantly move across their surface and one’s attention keeps shifting from areas of open space to sections that take up space. The seams between the different segments play a key role in the works, since they lend a sense of scale to the mass of steel and define its different volumes. The artist strives to show interior space – its layout, possible compartments, the spaces between the segments and the massive quality of the steel itself. The different dimensions all interact with one another. Ultimately, this is also what gives the sculptures their specific presence: the precise handling of volumes and the perfect connection of individual sections in space. Each newly-realised concept is intended to bring even greater clarity to the context of the preceding work – while also pointing ahead, suggesting new concepts that are still waiting to be developed.
Van Dijk’s most recent sculptures comprise a single segment. The location of the open space and its dimensions determine the scale of the work as a whole. The result is an object in which mass (matter) and open space interact more intensively than ever before. In technical terms, the steel used for the sculptures shows no traces of machining or processing. Thanks to their mass, the open space and the interaction of these two elements, these tranquil objects seem to speak directly to the viewer.
It must have been some 20 years ago that i encountered at auction a beautiful and impressive painting of a night scene. At first i thought it to be a painting by Jan Sluyters, but when i read the description it appeared to be by Piet van der Hem. A painter of who i thought that he only made (ugly) portraits and illustrations. But this night scene was very very impressive. I forgot about van der Hem because i lost interest in all portraits by all painters. a few months ago i visited the bookmarket….and there it was again …a catalogue on van der Hem and on the cover the painting i had admired so much 2 decades earlier. I bought the catalogue and found out that the works by van der Hem can be divided into 2 parts. His early paintings in which his nightlife paintings show his best qualities and the later portraits which i do not like that much. Van der Hem is an excellent painter, but just focus on his early works which are tremendous and equal to Jan Sluyters or Isaac Israel ones.
the Piet van de Hem catalogue by Stichting Kunst aan de Dijk is available at www.ftn-books.com
Why Tuzina in this blog. Tuzina is one of those artists who remained true to a certain principle in art and researched it over 40 years now. Het started with a line in one corner and developed his art from there on. Tilted rectangles, which are crossed from corner to corner in different kinds of colors is the main figure used by Tuzina and is very recognizable and one can find an excellent walldrawing with this “window” in the Gemeentemuseum Den Haag.
The Gemeentemuseun was one of the first who presented his works and in the eighties Pablo van Dijk commissioned Tuzina to make 55 separate drawings in different colors for his Bebert publishing house. The one depicted here is one of these 55. Signed and dated by Tuzina and in excellent mint condition. This one is available at www.ftn-books.com and soon there will be a second “green” one listed from the same series. Impressive art from an artist who can be considered as a post minimal artist.
I found an excellent biography on Art index:
Günter Tuzina studied at the Hamburg Art Academy between 1971 and 1977. He has been exploring the fundamental principles underlying painting since 1975. Günter Tuzina combines lines, squares, rectangles and Colour Fields within a frame in a fascinating and inexhaustibly rich quest for equilibrium and tension. In its stringent simplicity Tuzina’s work is based on Minimal art and the principles laid down by Theo van Doesburg and De Stijl.
Tuzina was awarded a Villa Romana Prize in Florence in 1981. A retrospective was mounted in 1985 at the Gemeentemuseum in The Hague, for which Tuzina executed a mural two years later that was, unfortunately, lost when the museum was restored.
From 1982 until 1999 Tuzina lived and worked in Cologne but now lives in Berlin. He has had numerous exhibitions: at the David Nolan Gallery in New York (1991), the Cologne Kunstverein (1992), the “Städtische Galerie im Lenbachhaus” in Munich (1993) and again at the Gemeentemuseum in The Hague in 2002.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20