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.
At the beginning of Minimalism, 3 names rose to fame almost instantly. Sol LeWitt, Donald Judd and Carl Andre. All had their one man shows at the Haags Gemeentemuseum, but i noticed that the appreciation of Andre was not as high as the appreciation of his comrades. 30 years after his last show at the Gemeentemuseum things have changed for the better for Carl Andre. There was a very large retrospective exhibition travelling the US, Germany, Spain and France and the catalogue which was published with this exhibition is by far the the most complete on Andre ever.
Perhaps it is not the best, since i value myself the 1988 by Fuchs and Gracia Lebbink to be the best of all Andre catalogues, but it is a worthy addition to any Minimal Art library and still at a very affordable price. The second addition is the ART & PROJECT Bulletin 85, which is one of the rarest of all Carl Andre publications. Both are now available at www.ftn-books.com
It must have been somewhere around 1985. After a trip to the US and whta must have been a visit to Donald Judd’s studio, Flip Book, curator of the Modern Art department of the Gemeentemuseum Den Haag came back with the story of a purchase he had made of a Donald Judd sculpture. I heard that the price paid was around 60.000 guilders and personally i thought it unheard that a sculpture like this would have such an elevated price tag. I thought it much to expensive for a sculpture like this, but as time progresses. i became wiser and it became clear to me that Flip had made a wonderful and very important acquisition for the Gemeentemuseum. The sculpture has been since in the Beeldentuin of the Gemeentemuseum and is still as, or perhaps even more, impressive as it originally was.
I realized that the important purchases for the collections of the Gemeentemuseum were all done from the late Sixties until the first years of the Nineties. It started with Minimal art by LeWitt, Judd and Andre, continued with some Schoonhoven, Weiner in the Eighties and perhaps the last important acquisition is the carrousel by Bruce Nauman. Since very little important acquisitions have been made, with one exception. I think the Paul Thek object will prove to be important in the future.
In 1970 only 2 years after the first exhibition with Minimal Art at the Haags Gemeentemuseum ( Curated by Enno Develing) , there was an initiative by 3 aspiring admirers who wanted to present their choice of Contemporary Art with a focus on Minimal Art. Organized by the Kunsthistorisch Instituut in 1970 a location was found with the Nebato Fabriek in Bergeijk. The Nebato metal construction company executed some of the works by LeWitt and Judd and in the meantime the artists stayed nearby with Martin and Mia Visser. The Visser’s collected during 3 decades one of the most famous of dutch Modern Art collections and focussed in those early years on Minimal Art . From the early beginning of 1966 they started collecting LeWitt and Judd. Building this way a world famous collection of Minimal Art. It all comes together in this exhibition at the Nebato factory in 1970. Participating artists were: van Amen, Balth, van benthumn, Graatsma, Gribling, Grosvenor, Judd, LeWit, Morris, van Munster, Naumann, Slothouber and Staakman. This catalogue is rare and one of the most important Minimal Art collectibles there is. publication is available at www.ftn-books.com
There is a nice article to be found on the internet in which the relation between Visser the collector and the (minimal )artists is explained.
It was in the early Eighties that i learned of the Minimal Art collection and history of the Haags Gemeentemuseum.
Crucial for the collection was the interest of almost all modern art curators in Minimal Art. Starting with Enno Develing who introduced the key artists of the Minimal Art scene for the first time in a large exhibition in 1968. Among them Donald Judd, Dan Flavin, Carl Andre and of course Sol LeWitt. Many of them would receive solo prentations in the years to follow, but this first time was a breakthrough for Minimal Art. The catalogue is arare book nowadays and i am lucky to have a copy for sale at www.ftn-books.com
After this first exhibition many exhibitions would follow. Enno Develing, Flip Bool, Rudi Fuchs and Franz Kaiser all took an interest in Minimal Art and because of this interest , exhibitions with LeWitt, Andre and Judd were organized in the decades after this first 1968 Minimal Art exhibition. I doubt that none was as important as this very first one, because after this first one Minimal Art was established as an art form, but another aspect that makes this first ( Develing ) exhibition important is that the relationship between the Gemeentemuseum and these artist was not only an artistic one. The museum and its curators became friends with practically all Minimal Art artists, resulting in an ever growing collection of Minimal Art.
There is a nice link to a tribute to Sol LeWitt to be found over here:
Rudi Fuchs was the admirer and curator who convinced Donald Judd to have a large retrospective at the van Abbemuseum. Judd had his entrance into the dutch Museum scene with Enno Develing who had organized, with all important minimal art artists, exhibitions at the Gemeentemuseum Den Haag in the Sixties . Judd was one of them and since the popularity of Minimal Art in the Netherlands grew steadily. The van Abbemuseum made an exhibition with Judd in 1987, after which exhibitions another one with Judd, Fuchs and Jitta was held on the prints by Donald Judd at the Gemeentemuseum. It was one of the last exhibitions Rudi Fuchs curated for the van Abbemuseum before he switched to the Gemeentemuseum as a director and made this print exhibition. Fuchs was a great fan, because together with the print exhibition he ordered furniture, desks and even a complete parquet floor all done by Judd of which only the floor remains at the Escher Museum at the Paleis Lange Voorhout location. The rest “disappeared” , was damaged, or was sold during the last 2 decades.
The blog is to point out that this is an important catalogue which is now available at www.ftn-books.com together with some other publications. As mentioned …Enno Develing wast the first European curator who presented the Minimal Art movement and his artists at the Gemeentemuseum Den Haag. Here is the extremely important catalogue of this exhibition which i gladly make available for my readers. Click the MINIMAL ART link below and read the PDF version of this rare and very important catalogue.
It looks like Donald Judd publications are getting more rare every month. Since his tragic death in 1994 no more “original” exhibition publications have been published. Of course there are some retrospective ones on the market, but the original ones during his lifetime are harder and harder to find. http://www.ftn-books.com is therefore proud to have 2 of these rare publications available in pristine condition. First there is the van Abbemuseum catalogue from 1987. The book served as a catalogue for 4 venues of which the van Abbemuseum was the most impiortant one because the exhibition was curated by Rudi Fuchs. Secondly there is the Donald Judd / Prints and Works in ecitions published by Schellmann , which even is shrink wrapped. This is rare opportunity to acquire these rare and highly collectable Judd publications for your collection.
Jan Maarten Voskuil was my personal discovery during the auction of the Klein Breteler collection last month. Immediately that i saw his monochrome “paintings” i got excited. These paintings have a quality which reminded me of a combination of both Donald Judd and Ellsworth Kelly. Two artist i admire very much and both artists are among the most important ones from last century. That standing is not for Jan Maarten Voskuil yet, but look as his approach to his paintings and the way he prepares the works to reach the ultimate result with the finished work and conclude that it is a question of time that he will be presented as one of the great contemporary minimal painters. These works shine with their simplicity and are in the meantime complex to execute. In every work he uses only one color to make a monochrome work, but put some together and the result is a multi colored wall with Voskuil works.
It was my luck that i could purchase one of the works at the Breteler auction. It was the lot. 152 titled “Wat een toeval” from 2009.
Originally this was made for the LADE PROJEKT of gallery Phoebus and because of the height of the drawers, the dimensions of the work itself were limited, but it still has all the qualities the works of Voskuil contain. A mochrome white surface and assembled from 3 different parts combine into a fascinating painting
www.ftn-books.com has no books on Voskuil , but i know that there is one book titled “Getting to a point” which is well worth reading and to have in your collection of Minimal art books ISBN. 978-90-811487-3-3
The Sikkens foundation chooses every year an artist for their prestigious Sikkens Award and in 1993 the honor was Donald Judd’s. He received the award for his entire oeuvre and delivered a lecture/speech on the subject and the importance of Piet Mondriaan on that occasion. The title “SOME ASPECTS OF COLOR IN GENERAL AND RED AND BLACK IN PARTICULAR”. For years i tried to find the little book which was published on that occasion and presented to the invited audience. A beautiful little book , cahier stitching, designed by Rutger Fuchs, with a typical Donald Judd cover and finally i have found one for www.ftn-books.com. The book is not the perfect copy i would have wished for. On a scale from 1 to 10 i would rate it as 7.5 ,but given the fact that only about 400 copies have been published this is the best copy which is on the market at this moment and possibly the only one for a long time to come available and for sale, because these are scarce and extremely hard to find.
So if you think the Judd publication is a “ghost” publication….it is not ! It is real!. Here is a short impression.
There was a time that the Escher Museum at the Lange Voorhout functioned as a modern art dependance of the Gemeentemuseum Den Haag. Rudi Fuchs initiated this by convincing the municipality of the Hague, that the town was in need of an extra Modern Art museum. A little like the Castello di Rivoli near Torino, where he curated the first exhibitions. Decorated with an original Donald Judd floor, the setting was perfect for modern art. Responsible for the project was John Sillevis who invited some friend artists to exhibit in the palace. One of them Jean-Charles Blais. Together with this exhibition a catalogue was published , which was designed by one of the very best at that time….Gracia Lebbink. Beautiful cahier stiching, printed by Lecturis this is a true gem of a catalogue. Since many exhibitions have been held in the palace but few were as impressive as the Blais exhibition.
Jean-Charles Blais was born in Nantes (Loire-Atlantique) on October 22, 1956. At the tender age of eighteen he enroled at the “École des Beaux-Arts” in Rennes, where he studied for a total of five years. Since the early 1980s Jean-Charles Blais studied the work of the Nouveaux Réalistes, Pop-Art and Arte Povera of Mario Merz, especially the works of the so-called “affiches arrachées”, which had a fundamental influence on Blais’ work. This work, which is determined by the choice of material used to carry the picture, marked his departure to a new kind of painting. On the basis of torn-off advertising posters which are then stuck on top of each other in multiple layers, Jean-Charles Blais developed a pictorial language, that was less interested in the suface of the two-dimensionally formulated message and more concerned with the space articulated “behind” the surface. The multilayered nature of the material and the view to the incidental edges and creases create associative structures. On their basis Jean-Charles Blais created representational motifs, figurative elements, houses and animals, plants and tools on the back. Thanks to numerous solo exhibitions in France and later also in Germany and the USA, Jean-Charles Blais’ works became known to a larger audience during the eighties. His first large-scale work in a public space attracted a great deal of attention in 1990: Jean-Charles Blais was commissioned to design the Paris Metro station “Assemblé Nationale”. In 1996 the “Telephone Booths” project for the “Thinking Print” exhibition of the Museum of Modern Art in New York followed. Digital technologies and new materials have been in the centre of Blais’ creative work since the turn of the millennium.
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