One of the painters i discovered in the early Eighties was Eric Bainbridge , who exhibition was held in 1989 at the Stedelijk Museum. It waas an absolute eye opening exhibition and since i cherish the catalogue ( also available at www.ftn-books.com).
Initially recognized in the 1980s for his object-based works covered in synthetic fur, Eric Bainbridge has evolved an extensive sculptural practice addressing existential themes on an everyday level through playful assemblages. Constructed out of commonplace objects and inexpensive building materials, his pieces continuously re-contextualize Modernist principles through a reconsideration of the found object using DIY home-repair and improvement supplies as well as kitschy consumer products. Carefully staged, Bainbridge’s assemblages investigate the domestic and the everyday whilst reflexively engaging with traditional sculptural concerns.
Eric Bainbridge was born in Consett, County Durham, UK in 1955. He studied at Newcastle Polytechnic and completed a Masters in Sculpture from the Royal College of Art, London in 1981. Bainbridge has exhibited Internationally in significant group and solo exhibitions and is considered an influential figure to a younger generation of established British artists. Throughout the 1980’s and 1990’s he showed in important group exhibitions such as “Material Culture” at the Hayward Gallery, London and solo exhibitions including “View Points” The Walker Art Centre, Minnieapolis, “Eric Bainbridge” at The ICA, Boston, “Style, Space, Elegance” at The Stedelijk Museum, Amsterdam. Bainbridge was included in “Modern British Sculpture” at the Royal Academy, London – the most significant exhibition on British Sculpture in recent years, curated by Penelope Curtis and Keith Wilson
Roger Bissiere held an exhibition in 1958 at the Stedelijk Museum. Catalogue and poster were designed by Willem Sandberg. In 1966 it was again time for Bissiere to show his latest works. This time Wim Crouwel designed both catalogue and poster. With the poster he was inspired by the one Sandberg had designed before. The poster is almost classic Sandberg in its approach. Colors, graphic design. red lettering all strongly influenced by Sandberg. But the catalogue!…there it was ….a typical Crouwel design…., size, binding, colors every aspect oozes Crouwel. Here are both and both are available at www.ftn-books.com.
Here is one of the most cherished titles i now also can offer on http://www.ftn-books.com. I now have two sopies of which one becomes for sale. This is special for me. It shows the importance of Ad Petersen as a curator for the Stedelijk Museum and it shows the many contacts he had with world famous artists. He kept and collected the envelopes of the artists he corresponded with and among them many were art themselves, being true ” Mail art”. Studio Anthon Beeke recognized this and published together with Anthon Beeke and Ad Petersen a selection of over 60 envelopes and published these in the book EEN KLEINE VISUELE KEITELING. The design of the book and the collection of envelopes is sublime. Making this one of the most cherished books in my personal collection.
Today another combination. The year 10 years later. More experiments were done and the result is two different approaches to the design by Willem Sandberg . One with torn out letters and the other with layers of art combined into a designed poster. Both fascinating and available at www.ftn-books.com.
A few weeks ago i started to persent the combination of catalogue and poster published with an exhibition. The initial blogs were on publications designed by Wim Crouwel, but to day and tomorrw i will show you 2 combinations by another great…WILLEM SANDBERG
The first is for the Andre Bauchant ehibition in 1949.
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This is almost 1 on 1. You of color and background are the same. The fonts however are different.
As promissed, some of the combinations that were published for the Stedelijk Museum exhibitions. I can show these because i recently acquired a great set of Crouwel designed posters. These combined with the other publications of the Stedelijk Museum that i have for sale at http://www.ftn-books.com makes some great visual presentations in my blogs. Today the VORMEN VAN DE KLEUR. The first large scale presentation of Colorfield and minimal art in the Netherlands. The catlogue was published in a Crouwel designed portfolio including 4 silkscreen prints of which one by Ellsworth Kelley and the poster has the same great color scheme. Minimal and colorfield combined into a great poster by Wim Crouwel. Both are now available at www.ftn-books.com.
Yesterdays blog was on the “OP LOSSE SCHROEVEN” exhibition. A breathtraking and important exhibition on Conceptual Art at the Stedelijk Museum. Poster and catalogue design by Wim Crouwel and while preparing the blog i found a page in the book IN AND OUT of AMSTERDAM ( also available at www.ftn-books.com ) which explains the story of the exhibition and even mentiones the poster by Wim Crouwel.
Another iconic exhibition for the Stedelijk Museum was the ” OP LOSSE SCHROEVEN” exhibition.
It was one of the experimental exhibitions in the Sixties which made the Stedelijk Museum being recognized as one of the most important modern art museum in the world.
I recently purchased another small set of WIM CROUWEL designed posters for the Stedelijk Museum and i will now have the oppertunity to present the combination of the poster with catalogue is this blog. The first…..OP LOSSE SCHROEVEN from 1969. Perhaps this is one of the rarest of them all. ( both available at www.ftn-books.com )
Adolf Wölfli was a Swiss artist who was one of the first artists to be associated with the Art Brut or outsider art label.
Wölfli was born in Bern. He was abused both physically and sexually as a child, and was orphaned at the age of 10. He thereafter grew up in a series of state-run foster homes. He worked as a Verdingbub (indentured child labourer) and briefly joined the army. He often attempted to perform sexual acts on young girls – often getting away unpunished. Eventually, he was caught in the act and institutionalized for his doings. After being freed, he was re-arrested for a similar offense and in 1895 was admitted to the Waldau Clinic, a psychiatric hospital in Bern where he spent the rest of his adult life. He was very disturbed and sometimes violent on admission, leading to him being kept in isolation for his early time at hospital. He suffered from psychosis, which led to intense hallucinations and that shows in his works.
The above text comes from WIKIPEDIA, …i did not know that he was conviceted for child abuse, but because of my interest in the Stedelijk MUseum i had encountered his publication for a Wolfli exhibition before and not only the Stedelijk showed an interest in this highly original artist. In the mid Seventies there was a tour which showed his works in Switzerland and Germany ( catalogue available at http://www.ftn-books.com). If there is one artist i feel who is connected to this kind of work and maybe inspired it must be Gunter Brus. There is so much to discover in these paintings and drawings by Wolfli that this artist deserves to be known and remembered for his art and not for anything else.
From the beginning of her career, Rini Hurkmans is concerned with topics such as absence, loss, disruption, alienation and the related concepts of safety, security, identity and compassion.
This can be perceived in the photo series Pietà, in the films Dear Son, The Flavor of Salt and Don Quixote but also in the sculptures The White Shroud and The Inner Garden.
Life, art and politics are intertwined in a continuous dialogue and each specific period requires its own thoughts, strategies and forms. Hurkmans initiated the conceptual artwork Flag of Compassion in 2002 out of the desire to go beyond the framework of cultural consensus and consumption. Since 2008, she is an advisor to the Unda Foundation, the foundation that manages the artwork and also organizes a series of
Making Waves events around themes related to Flag of Compassion. By engaging with the Flag, it is investigated how a work of art can activate ethical questions in society and how it can function both within the arts and in society. Hurkmans is the driving force behind the book Compassion. A Paradox in Art and Society (Valiz, 2017) in which Flag of Compassion is discussed as a case study.
She is currently conducting further research into the concept of loss in relation to ethics and politics and is developing new work based on her working period as Artist in Residence at the Royal Netherlands Institute in Rome in 2019. Her research into the press photo she bought in 1992, and which inspires her work ever since, of the moment Michelangelo’s Pietà was attacked in 1972, serves as the starting point for the work in progress.
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