Kunstenaars

Rotterdam 1991 Soft Cover Very Good This is a very good 2 volume softcover set with light wear to cover edges. Completely clean inside and out. Volume 1: Text, 16 pages, list of exhibits, bibliography. Volume 2: Plates, about 90 mostly colored plates.

Limited edition 2500 copies. Foreword by Wim Crouwel and and Marianne Stockebrand. 11" high X 9" wide.

Wool is best known for his paintings of large, black, stenciled letters on white canvases. Wool began to create word paintings in the late 1980s, reportedly after having seen graffiti on a brand new white truck. Using a system of alliteration, with the words often broken up by a grid system, or with the vowels removed (as in ‘TRBL’ or ‘DRNK’), Wool’s word paintings often demand reading aloud to make sense.

From the early 1990s through the present, the silkscreen has been a primary tool in Wool’s practice. In his abstract paintings Wool brings together figures and the disfigured, drawing and painting, spontaneous impulses and well thought-out ideas. He draws lines on the canvas with a spray gun and then, directly after, wipes them out again with a rag drenched in solvent to give a new picture in which clear lines have to stand their own against smeared surfaces.

“in the 1980s, Christopher Wool was doing a Neo-Pop sort of painting using commercial rollers to apply decorative patterns to white panels. One day he saw a new white truck violated by the spray-painted words ‘sex’ and ‘luv.’ Mr. Wool made his own painting using those words and went on to make paintings with big, black stenciled letters saying things like ‘Run Dog Run’ or ‘Sell the House, Sell the Car, Sell the Kids.’ The paintings captured the scary, euphoric mood of a high-flying period not unlike our own.”

Grote passies in enkele woorden uitgedrukt.

Although Wool is best known as a painter, he has amassed a large body of black-and-white photographs taken at night in the streets between the Lower East Side and Chinatown. Originally begun in the mid-1990s, the project was resumed and completed in 2002. East Broadway Breakdown, a book reproducing all 160 photographs, was issued by Holzwarth Publications in 2004. In 2012, Wool contributed the set design for Moving Parts, a piece conceived by Benjamin Millepied’s L.A. Dance Project.

Theo van Doesburg was born Christian Emil Marie Küpper on August 30, 1883, in Utrecht, the Netherlands, as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant.

After a short training in acting and singing he decided to become a painter. He always regarded his stepfather, Theodorus Doesburg, to be his natural father, so that his first works are signed with Theo Doesburg, to which he later added the insertion "van".

De Stijl, Dutch for "The Style", also known as neoplasticism, was a Dutch artistic movement founded in 1917. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg (1883–1931), propagating the group's theories.

Horizontalen en verticalen
Van Doesburg maakte reizen naar Frankrijk en Duitsland, waar hij de Nederlandse Stijlbeweging propageerde.
De Stijl was gebaseerd op composities bestaande uit horizontalen en verticalen. In 1924 introduceerde Theo van Doesburg de diagonaal, waarna conflicten binnen de beweging ontstonden. Piet Mondriaan keerde zich van Van Doesburg af. Theo van Doesburg noemde zijn nieuwe stijl "Elementarisme".

Dadaïsme
Hij was ook een bevorderaar van het Dadaïsme in Nederland. Hij publiceerde over Dada in het tijdschrift "Mecano", dat slechts kort bestond (1922-1923). In 1930 kwam Theo van Doesburg met een nieuw tijdschrift en kunstbegrip: "Concrete kunst".

Joseph Kosuth - Neonstücke

Concrete Poetry and Conceptual Art

Art After Philosophy (1969)
Joseph Kosuth

The fact that it has recently become fashionable for physicists themselves to be sympathetic toward religion . . . marks the physicists’ own lack of confidence in the validity of their hypotheses, which is a reaction on their part from the antireligious dogmatism of nineteenth-century scientists, and a natural outcome of the crisis through which physics has just passed. –A. J. Ayer.

. . . once one has understood the Tractatus there will be no temptation to concern oneself anymore with philosophy, which is neither empirical like science nor tautological like mathematics; one will, like Wittgenstein in 1918, abandon philosophy, which, as traditionally understood, is rooted in confusion. –J. O. Urmson.

In 1965 Kosuth moved to New York to attend the School of Visual Arts; he would later join the faculty. He soon abandoned painting and began making conceptual works, which were first shown in 1967 at the exhibition space he co-founded, known as the Museum of Normal Art. In 1969 Kosuth held his first solo exhibition at Leo Castelli Gallery, New York and in the same year became the American editor of the journal Art and Language.

From 1971-1972 he studied anthropology and philosophy at the New School for Social Research, New York. The philosophy of Ludwig Wittgenstein, among others, influenced the development of his art from the late sixties to mid seventies. Kosuth's work has consistently explored the production and role of language and meaning within art. His nearly forty year inquiry into the relation of language to art has taken the form of installations, museum exhibitions, public commissions and publications throughout Europe, the Americas and Asia, including Documenta V, VI, VII and IX (1972, 1978, 1982, 1992) and the Biennale di Venezia in 1976, 1993 and 1999. Recently, he exhibited Il Linguaggio dell'Equilibrio / The Language of Equilibrium at the Monastic Headquarters of the Mekhitarian Order on the island of San Lazzaro degli Armeni, Venice. This was presented concurrently with the 2007 Biennale di Venezia.