In the very long period that i am now active as a bookseller and collector i have seen many Alphabet books published and sold by the most famous of museums. Arguably one of the best, and certainly a personal best was the one designed by Gracia Lebbink. ( i only have a personal copy in my collection) but recently i bought another MUSEUM ALPHABET book which is nice and adventurous. It is the book published by the Museum of Fine Arts in Boston. The museum published a 30 page hard paged book with details of some of the highlights within the collection, making the very youthful in a playful way familiar with the Museums collection. The book was designed and “written” by Gisela Voss and published in 1995 and is well worth collecting. There is nothing to be found on the internet on the author, but this book is one of a series of other books she made for the Boston Museum .This book is now available at www.ftn-books.com
The official invitation for the BIOTOOP installation at the Haags Gemeentemuseum in 1995. I remember that this was the last exhibition my mother witnessed.aaaa a memorable occasion.
The card design by Gracia Lebbink is superb it is totally different from the invitation that are nowadays used by the Kunstmuseum Den Haag. For me these are far superior with the little embossed yellow rectangle. Simplicity makes these stand out and all are designed in the best of dutch design tradition.
An exhibition of which i remember a hellish ride to Gent to see the print proofs of the catalogue on Pierre Weiss. One of the first exhibitions curated by Franz Kaiser and with a catalogue designed by Gracia Lebbink. The printers waited for my arrival, but extremely heavy rain showers delayed my arrival by some 2 hours. After finally arriving it was the lunch break at the printers and lunch is “holy” in Belgium. Everybody stops working and has lunch. So did i . I was invited by the printers to have lunch and with them it meant a very nice lunch indeed at one of the finest restaurants in Gent. a 3 course lunch was normal including 2 glasses of great wine and a coffee it made me forget the terrible ride i had to arrive in Gent. This was almost 30 year ago now. I have forgotten the catalogue on Weiss, but the ride is still a vivid memory.
Never heard of Yeats as a painter, until Rudi Fuchs curated an exhibition with his paintings at the Haags Gemeentemuseum and it was a nice surprise. His painting is spontane , a little childish and impressionistic at the same time and thus resulting in a painting what is typical for Yeats with a signature of its own. The exhibition was not that large and i remember that the sizes of the paintings were not that large too.
What i do remember was the excellent catalogue Gracia Lebbink designed with the exhibition. It was one of her first lareg catalogues she made for the Gemeentemuseum but it has proven to be a classic and available at www.ftn-books.com
An important publication. published within the series of Grafisch Nederland and designed by Gracia Lebbink. A quintessential 150 years with some great inventions ( telephone, TV, Radio and Nylon) and a developing art scene which made the transition into constructivist and abstract art. The book not only has a beautiful design by Gracia Lebbink , but it is great fun to look at the history of these World Fair’s. What struck me is that the architecture is truly innovative, but only a few buildings were kept. Of course the Eiffel tower is one of them and it has grown into a landmark for Paris and France, but when you look at some of the other great architecture realized, it is a pity that so few of the buildings remain.The book is available at www.ftn-books.com
At the time Anzinger had an exhibition at the Gemeentemuseum Den Haag ( curated by Franz Kaiser i was not very interested in this kind of art, but sone 25 year ahead in time thingds change and now i find his work at least….INTERESTING and INTRIGUING.
Perhaps that is because i have learned to appreciate this kind of art. His paintings remind me of some of the ones Bacon has made and in the Netherlands John van ‘t Slot approached his subjects in the way Anzinger does. (Van ‘t Slot and Anzinger are from the same generation) and still they are rooted in the Austrian way of painting.
If you try to find some information on Anzinger you will have a hard time finding it. There is some put on line by his gallery MAX WEBER, but even this information is not very elaborate. An interesting artist, but hard to keep track of his works, because outside Germany and Austria his work is rarely seen.
Willem van Zoetendaal made me look more careful at the photographs by Sara Blokland. It was at the time he was invited by Hans Locher to curate the Fotokabinetten exhibitions at the Gemeentemuseum Den Haag. It was at that time that i began to realizxe and see that photography was a very interesting and highly personal search for the inner soul of the photographed. The persons depicted in the photograph were not ordinary models but their appearance reflected their inner soul. Koos Breukel was one of them and surely Sara Blokland was the other with whom i experienced this.
Sara Blokland (1969 NL) is a visual artist, independant researcher and curator of photography. She lives and works in Amsterdam. She studied at the Rietveld Academy (BA in photography) and graduated at the Sandberg Institute (MFA photography and video) in the Netherlands and a MA in Film and Photographic Studies from the Leiden University.
As a visual artist she is predominately working with photography. Her work reflects on the complicated role of this medium in relation to the histories of individuals, the concept of ‘family’ and culture heritage. Blokland’s films and photographic works have a strong focus on the portrait and landscape as part of identity and memory. Internationally her work has been exhibited in venues such as Kumho Museum (Seoul, Korea) and Gallery Lmak-projects (New York) the Stedelijk Museum Amsterdam, the Museum of Modern Art (Arnhem, Netherlands) and Gemeentemuseum The Hague (Netherlands). Her work is part of several private and public collections, such as the ABN-AMRO Collection, the Rabobank Collection, Museum of Fine Arts in Houston and Gemeentemuseum The Hague. She was also the photographer and editor of the book Van Waarde [Of Value] (2008) and the photographer of the publication The Surinam Police Band (2009).
Since 2009, she is the co-founder and co-director of UNFIXED Projects. The organization aims to create platforms for dialogue about photography, contemporary art and theory with a strong focus on cultural identity. In 2010 UNFIXED projects organized in cooperation with the Center for Contemporary Art Dordrecht in the Netherlands, the UNFIXED exhibition, artist-residency , workshop and symposium. Sara co-edited the publication: UNFIXED – photography and post colonial perspectives in contemporary art, which was co-published by Jap Sam Book in Spring 2012.
www.ftn-books.com has a very nice Sara Blokland publication available which was published by Willem van Zoetendaal.
On the 1st of September 2016 i started the “Piet Dirkx daily” with the publishing of a Piet Dirkx cigarbox on each day since. There were over 850 cigarboxes that were once part of the installation Biotoop at the Gemeentemuseum Den Haag. This publication of the collection of cigarboxes has come to an end. That does not mean that the Piet Dirkx daily will not continue. Yes…. it continues ….however the frequency will be different. Every week on Saturday or Sunday a new “classic” Piet Dirkx item will be published, but this time it will be mostly very colorful larger and extreme large items. Drawings, paintings and special publications all other parts of my/our collection will eventually be published.
So it is certainly still not the time to stop, but the name will change and be different of course. the “Piet Dirkx daily” will become the “Piet Dirkx weekly”. Starting this weekend when a new chapter in the Piet Dirkx publications will start. I did not plan it, but there was some real symbolism in this last Piet Dirkx cigarbox no. 855 published .
For all those who are not familiar with the dutch language…on the last box Piet stated …De trein staat stil and positief leven, which means the “train has stopped” and “live positively”. The last few words are maybe the most important to us all. Translated they mean:
and on a personal note….Merry Xmas to you all.
The BIOTOOP / Biotope catalogue of the Piet Dirkx exhibition at the Gemeentemuseum Den Haag is available at www.ftn-books.com
Lately i notice again and again that renowned marques are heavily “inspired” by artist all around the world. I dare to say that i know something about the works by Piet Dirkx. Not only the works by Piet are present in our collection, but i also have followed his career for a very long time now. It must have been some 25 years ago that i noticed the similarities of the Fortis logo and the works by Dirkx which he had made ca. 1987 titled MOTIF. I remember that at one time i asked about it, but i do not remember the answer, however i feel that he has never been compensated for this theft of his idea.
Last week we visited the ALEXANDRIUM Woon mall in Rotterdam and at one of the many stores i found in the back a sample collection of colors by Pastoe. This once again can not be a coincidence, because at a distance you definitely can distinguish, the multiple shapes and colors placed on a lat/bar. This is the way the early Piet Dirkx were shaped and composed. The title on the top should not be PASTOE, but ‘PASTOE inspired by Piet Dirkx”, because in both cases the artist was way earlier than the execution of logo and display by both these “thieves”. Is it theft?….Yes,personally i think it is!
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