Raymond Pettibon…. Brush Life (2002)

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In 2002 Raymond Pettibon made the opening exhibition for the GEM museum. The exhibition was curated by Roel Arkesteijn. Pettibon worked day and night to include over 600 drawings and designs, but he finished in time to make it a memorable exhibition. After the opening he had time to make and finish 3 comic books, which were printed ( copied ) and stapled “in house” by Chantal Sieuw. These 3 titles are since their publication date highly sought after and collectable Pettibon books , because the edition was only 100 copies for each title these are rare editions to any art collection.

The edition is numbered xx/100

The Brush Life blog is the third and final in the series on Pettibon’s GEM publications and because of its autobiographical character it is by far the most important one and has become rare and expensive. For more information please contact me . POA.

Artist / Author : Raymond Pettibon

Title : Brush Life

publisher : GEM, 2002

Number of pages : 28

Text language : English

Measurements: 8.7 x 5.6 inches

Condition: MINT

Highly recommended and collectable publication published on the occasion of the 2002 Pettibon opening exhibition of the GEM museum. Edition of only 100 copies. all numbered in red ink.

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Review Gemeentemuseum Den Haag visit 11/12/2017….. CHAOS!

I think i have a right to speak when i say that yesterdays visit at the Gemeentemuseum Den Haag for me personally was “complete Chaos” . Yes, it was a busy Sunday afternoon and there must have been well over 1500 visitors that day, making it hard to find a quiet spot within in the museum. But beside that, the collections and all special exhibitions were filled with too many objects and what is even more important there was hardly any connection between the subjects of the exhibitions. First we re-visited the Heyboer exhibition which was during the last visit a real eye opener and with this second visit confirmed its importance, but after that….when you climb the stairs…. there is an Art Deco exhibition. An exhibition which has some great elements and objects but is so crowded with objects and far too many costumes that the important art is lost among all other items. For instance in the first room there is an extremely important Brancusi sculpture and one of the most beautiful Kees van Dongen paintings ( this was new to me) which are lost because there are too many objects in the room. It would have been so much better just to present the photograph with the Brancusi sculpture, the sculpture and the Salome painting by van Dongen and the room would have been perfect.

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Now room after room is filled with too many objects and it is the same with the Steltman special exhibition. Too little space and too many objects and more important, it clashes with the Ceramic exhibition of the Ceramics by Hans de Jong ( a nice selection but again no space enough). The 3 screens with Uta Eisenreich are lost in between the two exhibition parts on the 1st floor in the Projectenzaal are not fascinating enough to stay any longer period in the room than 1 minute or so. There is no cohesion between the presentations and it makes a visit tiring and not interesting enough. But ….there are 2 exceptions  . First there is the mentioned Heyboer exhibition which is a must see and a great chance to discover Heyboer as a painter and certainly one of the most fascinating exhibitions i have seen last year…… It is the Marthe Wery / works on paper exhibition in the Berlage room.

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Over many years, Wéry was inspired by paper to create a variety of unique forms of artistic expression, in which the visual experience is always paramount. She used Indian ink to inscribe serene straight lines on handmade paper, the various types and sizes of which contribute to the expressive power of the work. It may be smooth, formal and rational in appearance or, on the contrary, lumpy, tactile and sensually appealing. Wéry used folds in the paper to accentuate or interrupt the drawn lines or, in other works, soaked the paper in acrylic paint and carefully controlled the resulting colour gradient. She frequently created works on two, three or even more panels, installing them in such a way as to create a rhythmic harmony with the surrounding architectural space.

Around 1980, the lines gave way to letters or text. Wéry took texts by people like French artist Henri Matisse or American author Gertrude Stein as the points of departure for what she called her écritures. She also produced aquatints featuring compositions in which coloured geometrical planes interact with the white of the paper. When she began to stack drawings, placing them in bundles on a shelf, hanging them on the wall or standing them on the floor, they functioned as three-dimensional works. (Wery text by Gemeentemuseum Den Haag)

www.ftn-books.com has the very important Marthe Wery catalogue from 1986 available.

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Raymond Pettibon…First Person Show

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In 2002 Raymond Pettibon made the opening exhibition for the GEM museum. The exhibition was curated by Roel Arkesteijn. Pettibon worked day and night to include over 600 drawings and designs, but he finished in time to make it a memorable exhibition. After the opening he had time to make and finish 3 comic books, which were printed ( copied ) and stapled in house by Chantal Sieuw. These 3 titles are since their publication highly collectable Pettibon books , because the edition was only 100 copies for each title.

The edition is numbered xx/100

The First Person show is the second Pettibon  title to be discussed in this blog.

Artist / Author : Raymond Pettibon

Title : First Person Show

publisher : GEM, 2002

Number of pages : 28

Text language : English

Measurements: 8.7 x 5.6 inches

Condition: MINT

Highly recommended and collectable publication published on the occasion of the 2002 Pettibon opening exhibition of the GEM museum. Edition of only 100 copies. all numbered in red ink.

www.ftn-boooks.com is the only internet store that offeres this rare Pettibon publication

Anton Heyboer ( exhibition in Gemeentemuseum Den Haag) and Jean-Michel Basquiat

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Yesterday i participated in an auction in which around 15 lots by Anton Heyboer were offered. Some of them were sold but most of them were “unsold” /held up and prices stayed all below their estimates. During the auction the auctioneer urged her audience to go to the Anton Heyboer exhibition in the Gemeentemuseum and since after my lunch i had a spare half hour, i stopped at the museum and visited the Heyboer exhibition. The museum has a long history with Heyboer , because in his early years as a curator for the Museum , Hans Locher organized exhibitions on Heyboer and visited him frequently in his studio in Den Ilp, resulting in purchases and the start of a brilliant Heyboer collection. Later on Heyboer’s works became less and less important . This is the time when he started as a more commercial artist  and sold his works across the street in Den Ilp, in a gallery run by his 5th wife.

But yesterday when i visited the exhibition in the Gemeentemuseum Den Haag ( Heyboer is on show until the 4th of February 2018) i was overwhelmed by the quality of its works from the sixties and seventies. I knew the etchings from the collection quite well, but the paintings were an eyeopener for me and i compared them immediately with the experience i had when i saw similar kind of paintings by Jean-Michel Basquiat in the Beyeler Museum some years ago.

There are many similarities between these two artists and their paintings and when you realize that most of these were made 20 to 25 years before Basquiat made his works you can only admire the Heyboer’s even more. I like this Heyboer exhibition very much and for me it is one of the best the Gemeentemuseum organized in the last 5 years.

and of course there are some nice Heyboer publications available at www.ftn-books.com

 

Lawrence Weiner…Two special dutch editions and discount code

The followers of this blog know of my admiration for Lawrence Weiner. I am always keen and interested in publications by or on Weiner nad therefore i was lucky to acquire to my inventory 2 special editions. The first one, BINNEN HET GEGEVEN VAN REACTIE  is from the Seventies and printed on a thick carton like paper and published by the van Abbemuseum. The second is an exhibition poster from 1989 for the Weiner Exhibition in the Stedelijk Museum Amsterdam. Both are in excellent condition and when you use WEINER10 before the end of this month. There is a discount of 10% for these and all other purchases on http://www.ftn-books.com

 

Kustavs Klucis / Klutsis (1895-1938)…photomontage posters

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Gustav Klutsis (Latvian: Gustavs Klucis, Russian: Густав Густавович Клуцис) (January 4, 1895 – February 26, 1938) was a pioneering Latvian photographer and major member of the Constructivist avant-garde in the early 20th century. He is known for the Soviet revolutionary and Stalinist propaganda he produced with his wife and collaborator Valentina Kulagina.

This is how Wikipedia starts on this Russian photographer . What Klucis makes important for me is not the Constructivist part in his biography. For me his use of photomontage in the context of the rapidly changing times make his works spectacular. I had never heard of Klucis before, but because the Gemeentemuseum held and exhibition on Klucis in 2008 i became an instant admirer.  Together with this exhibition a catalogue was “in-house” published in a very limited edition ,which shows in an excellent way the importance of Klucis. I believe the edition size, because of the printing “on demand” situation, was only 250 copies .  It makes it difficult to find, but the good thing is….. i have it in stock and the catalogue is available at www.ftn-books.com.

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Here is part of the text published by the Gemeentemuseum Den Haag:

From 1913, Klucis studied at the City Art School in Riga. In 1915, when the city was attacked by German troops, Klucis was conscripted into the imperial Russian army and ordered to Ochsta near St Petersburg, where he subsequently studied at the Art Academy. In the days following the October Revolution of 1917, he volunteered to join the Ninth Regiment of the Latvian Red Infantry in defence of Lenin. Inspired by Malevich and Constructivism, he also began around this time to produce art in support of the emerging Communist state.

In 1919 Klucis produced a series of drawings, photomontages and paintings entitled Dynamic City, showing that he wanted to turn Malevich’s Suprematism into a more concrete artistic movement. Developing alongside Tatlin, Pevsner and Gabo, he became one of the first Constructivists, producing work that exemplifies the political engagement and spirit of innovation that inspired this Russian movement. Around 1919, he discovered photomontage, which he himself later described as a new kind of art for the masses: the art of the Socialist revolution.

From this time on, Klucis was offered a series of prestigious design commissions. These included, for example, one for the 1928 Spartakiade (the Soviet Union’s alternative to the Olympic Games). Klucis designed a series of postcards and a poster establishing a clear link between sport and revolution. In all, he produced over a hundred poster designs, many of them relating to the Five Year Plans and supporting the collectivisation of agriculture and the large-scale industrialisation of the Soviet Union.

Gustavs Klucis was arrested on 17 January 1938 and accused of belonging to a Latvian terrorist organisation (such ‘random’ political purges were a feature of life under Stalin). He was taken away and for many years his wife, artist Valentina Kulagina (1902-1987), knew nothing of his fate. In 1956 his family heard that he had died of heart failure in a labour camp in 1944. It was not until 1989 that they were informed that he had in fact been shot in Moscow on 26 February 1938.

peaceful uneasy feeling…Emil Schuhmacher (1912-1999)

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At the time Rudi Fuchs was director of the Gemeentemuseum Den Haag, he organized an exhibition with works by Emil Schumacher in the just finished “Polak” zalen of the Gemeentemuseum. These rooms are on the ground floor and you have to pass these when you enter the museum by its back entrance where the personel enters the museum. It is just some 45 meters, but every time i passed these paintings by Schumacher i got an uneasy feeling. Perfect abstract paintings but because of the layers of paint these paintings almost were “organic” in their appearance and this organic quality made me uneasy everytime i passed them. What else can be said about them?… these paintings were impressive but i never would one for myself , because this feeling i got from them was to unpleasant to ever want one. A work of art not has not to be beautiful, nor being pleasing in its appearnce, but the way Schumacher paintings evoked feelings with me is the reason i never will want one for my collection. Still these abstract paintings have a great abstract quality and in some cases even a peaceful one.

There are some Schumacher titles available at http://www.ftn-books.com

the above titles are available at www.ftn-books.com