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Elk, Ger van
... heuvel, Ger van Elk: De horizon, een geestelijk verschiet / The Horizon, a Mental Perspective, Rotterdam 1999 (exh. Van Abbemuseum, Eindhoven, 4.9 - 24.10 1999), p. 17; Marente Bloemheuvel, Zsa-Zsa Eyck (samenst. en red.), Ger van Elk, Deventer 2009, pp. 124-127...
... red pencil, 73 x 51 cmlower right: Ger van Elk 1982Kröller-Müller Museum, Otterlo, inv./cat.nr. KM 133.324...
... r, Ger van Elk: "Von der Natur des Genres / On the nature of genre", Düsseldorf 1988, p. 28; Marente Bloemheuvel, Zsa-Zsa Eyck (samenst. en red.), Ger van Elk, Deventer 2009, p. 210...
... - 18.6 1989Lit.: Franz Kaiser, Ger van Elk: "Von der Natur des Genres / On the nature of genre", Düsseldorf 1988, p. 22; Marente Bloemheuvel, Zsa-Zsa Eyck (samenst. en red.), Ger van Elk, Deventer 2009, p. 209...
... , Rijksmuseum Twenthe 10.4 - 6.6 1999Lit.: Marente Bloemheuvel, Zsa-Zsa Eyck (samenst. en red.), Ger van Elk, Deventer 2009, p. 94-95 ...
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1968-1971
... red-yellow-blue-white),Amsterdam: Art & Project [1968], [1] p., 29,5 x 21 cm; signed: 'Bonies '68&...
... redo Camesi[4] p., 29.7 x 21 cmmailed Amsterdam 24.3 1969exhibition 29.3 - 23.4 1969Art & Project, Ric...
... .][1] p., 29.7 x 21 cmdated 11.1 1970Art & Project, Richard Wagnerstraat 8, Amsterdammailing with the printed addresses of: Hieron Pessers, Anni Apol, Dolf Stam, Aafke van der Made, Roelf van Bergen, Marijke van der Wijst, Leopo...
... dam, May 1970, [4] p., 25.5 x 18 cm; inside: small red stamppublication made and published by Gilbert ...
... red and fifty-five lines[4] p., 29.7 x 21 cmmailed 4.1 1971Art & Project, Richard Wagnerstraat 8, Amsterdam ...
... / please take due note of our new address and telephone number [1] p., 2...
... ts the list of the paintings acquired during one full year, excludin...
... ; Project, Van Breestraat 18, Amsterdamsigned by the artists in red ink ...
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Struycken, Peter
... Paleis voor Schone Kunsten, Brussel 1976, pp. 33-35; Elbrig de Groot (red.), Struycken: structuur, elementen 1969-1980, Rotterdam: Museum Bo...
... museum Twenthe 31.3 - 2.9 2007Lit.: Elbrig de Groot (red.), Struycken: structuur, elementen 1969-1980, Rot...
... pot VBVR: Peter Struycken, Rijksmuseum Twenthe 31.3 - 2.9 2007Lit.: Elbrig de Groot (red.), Struycken: structuur, elementen 1969-1980, Rotterdam: Museum Boijmans van Beun...
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An Archive as the Result of ‘Engaging with Art Every Day’ - The Art & Project Archive
... ally on the subject of conceptual art. Even after the heyday of conceptual art in the mid-1970s, the duo continued to intensively collect documentation on their own artists and their work, as well as on other artists they admired. Their collecting frenzy is not limited to the aforementioned documentation, however; everything that goes on in the gallery is also documented and classified, down to the smallest detail, from receipts for ordering statio...
... ho Fell over Niagara Falls at the gallery on the Van Breestraat. Seated in an armchair, he read a story from an issue of the American Reader’s Digest, ‘The Boy Who Fell over Niagara Falls’, about a little boy who ends up in Niagara Falls. Ader periodically took a modest sip of water from a Duralex glass placed on a wicker side table next to him. This glass is stored in the archive under number 958.6 The typewriter used in the gallery was given the number 968. It was, according to the inventory, a birthday present from Adriaan van Ravesteijn’s mother for his twenty-first birthday....
... are with which the bulletins were created. Of course the archive contains multiple versions of the bulletins published: unaddressed, addressed to the gallery itself, folded, unfolded, sent and returned copies, and a complete set of the ‘limited edition’ bulletins that w...
... ents. In 36 personal diaries, dating from 1969 to 2003, we can follow most of his daily activities and appointments. Van Beijeren left records of his work for the Stedelijk Museum and Museum Boymans-van Beuningen and for Museumjournaal. The archive also includes passport photographs, passports, childhood documents and photographs of their first trip together, to Denmark in 1965. Gallery owner Riekje Swart, with whom they maintained very good and close contacts, wrote their horoscopes. Small books, card indexes with addresses and telephone lists provide insight into both personal and business relationships. It is impossible to distinguish between the two. Both men corresponded extensively with friends and acquaintances, including artists and collectors. Postcards received, invitations to exhibitions and publications with commissions, for example from Gerard Reve and his partner Joop Schafthuizen, illustrate the good relations with numerous friends and acquaintances....
... ible source of information, kept alive and constantly enriched by connections with other sources and archives. This creates a network of information with ever new users.8With the completion of the inventory, Art & Project’s archive is not only well preserved and secured, but also ready to come alive....
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Pope, Nicholas
... Red ball, 1981woodcut in red and black, 130 x 165 cmKröller-Müller Museum, Otterlo, inv./cat.nr. KM-...
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Interview with Adriaan van Ravesteijn on the Art & Project Bulletins, May 17, 2011
... re very inspiring. The gallery was no longer a building with a classic shop front but could be situated everywhere and it could really change places in very different ways. We started having a small space at my parents’ home. In 1970 when I went for two months to Japan I temporarily changed the address of the gallery to an address in Tokyo. That was quite easy!...
... sted. That turned out to be a mistake because the postal services thought that the Art & Project address on the right was that of the receiver and many Bulletins were sent back to us. So I did change the layout from Bulletin 3, with our gallery name and address on the left side.To maintain the simple layout was also a form of laziness. Why change? If you don’t want to rethink and consider each following Bulletin. Some small changes were made eventually because I made the typographic elements myself using transf...
... e soon got requests from all over the world to send a Bulletin. The magic of the Bulletin was the fact that we numbered them. Regular mailings without a number were easily thrown away, but when people see a number they want to colle...
... according to Buren’s instructions, the Bulletin that accompanied this exhibition, number 24, never should be published. A year later the collector Herman Daled contacted us to make a Bulletin. It became Bulletin 45 “a private collector”. In this Bulletin Daled presents anonymously the twelve paintings he acquired in 1970, one each month. Buren’s name is not mentioned in the Bulletin, but it is very clear that he is the painter. Since we knew that Herman Daled and Daniel Buren were friendly, we felt free to recognize this Bulletin as authorized by Buren....
... t special instructions. Gilbert & George for example did not want their name in large on the front page. Instead they signed Bulletin 73 with an embossed stamp and each copy of Bulletin 47 (“A Touch of Blossom”) with red ink. The inkwell with the red ink is still kept in the archive. I am afraid it will have desiccated by now. Also, the Bulletins were sent from Düsseldorf and Tokyo. Jan Dibbets’ Bulletin 56 was mailed from Venice in occasion of his presentation at the Dutch Pavilion Biennale 1972. I remember specially the folding of the Bulletins as a difficult job because of the specific folding this Bulletin required. The horizon line on the land and seascape photo on the inside page was measured according to the sectio aurea (golden ratio). To not disturb the balance on the inside of the Bulletin, we decided that the folds should also follow the sectio aurea.Our room in Venice was bloody hot and the folding demanded a lot of concentration. Due to the very slow delivery of the Italian post in those days (up to three weeks for an ordinary postcard), no one responded when I was already long back in Amsterdam.#]...
... a liverwurst. Later, van Elk used the same sausage for an OK-work on another location. For the time in between the works this sausage was stored in the boot of his car. ...
... he magic of the numbers. Some Bulletins are of course still available on the antiquarian market. Sometimes with the addresses and names of the former owners who had received them. Interesting for me to know who sold them!Over the years,...
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D Documentation and other material
... red. 2 boxes (1x contemporary box)....
... redo Camesi. s.a....
... red ink by Gilbert & George, address label by Baldessari, film can Bas Jan Ader, tamponeer brushes? by Weiner...
... dressing system. 1 cover....
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B.9 Documents on special subjects: Art & Project Bulletins, booklets and small printed matter
... letin with musicians' names in red pen. N.B. See also audiovisual m...
... dressed to Art & Project, Adriaan van Ravesteijn and Geert van Beijeren Bergen en Henegouwen, 1969-1975, 1978. ...
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Artists' Books: A-B
... 505422: - Ex. 201 van 660 ex. - Without table cloth; added is a leaf with a grey grid and the numbers 1 to 16 in red numbers and black dashes. [58-02]Lit.: Van der Zwaag 2003, pp. 261- 262; Rennert/Titz 2022, pp. 74-81...
... te set of 51 cards addressed to Art & Project and 14 doublets addressed to Adriaan van Ravesteijn. [109-02]Lit.: Anne Moeglin-Delcro...
... & Project Archive: 201311237: in an envelope addressed to Jan Dibbets and Art & Project [02-01]...
... redici luglio / Luciano Bartolini. - [Firenze] : [self-published], [1974]. - [42] p. ; 29,2 x 20,4 x 0,...
... chive: 201703017: rapped in paper with title, on the back address of Rob Dettingmeijer; with signed card by Stanley Brou...
... 1-12 p. : ill. ; 25 x 21 cmRKD, Art & Project Archive: 201609754: addressed to Geert K. van Beyeren Bergen en HenegouwenArticle in: Dutch Art...
... of 30 copiesRKD, Art & Project Archive: 201400386: numbered and signed: S.B.: 22/30 [08-01]...
... redaktion Jean-Christophe Ammann. - Luzern : Kunstmuseum Luzern, 1975. - [28] p. : [6] ill. ; 29,7 x 21 x 0,3 cmR...