Quarter 1: mapping kunstenaars

JAN VAN TOORN is sinds 1957 zelfstandig vormgever. Hij werkte van 1965 tot 1994 voor het Van Abbe Museum in Eindhoven. Van 1974 tot 1978 diende hij het Bureau Beeldende Kunst Buitenland van het ministerie van WVC. In 1976 verzorgde hij de vormgeving van de Nederlandse bijdrage aan de Biënnale in Venetië. In 1975 en 1976 maakte hij voor de VPRO-televisie grafische commentaren voor het programma Het gat van Nederland. Voor drukkerij Mart Spruijt maakte Van Toorn tussen 1960 en 1974 de befaamde kalenders, die hij zelf beschouwt als 'visuele experimenten'. Tussen 1968 en 1985 doceerde hij regie op het gebied van grafisch ontwerpen op de Rietveld Academie in Amsterdam. Hij had een jaar lang een leerstoel op de afdeling Architectuur van de TU in Eindhoven en is sinds 1989 als docent verbonden aan de Rhode Island School of Design in Providence, USA.

Roosje Klap is a studio for visual communication, mainly graphic design. The studio researches the experimental boundaries of custom fit design, collaborative yet peculiar.
We mainly work for a clientèle in the cultural field: museums, galleries, art publishers and artists.
Clients include The Gemeentemuseum Den Haag, Fonds BKVB, the Mondrian Foundation, The Audax Textile Museum, SKOR, Foam, The Royal Dutch Mint, The Van Gogh Museum and for publishers like Valiz, Nieuw Amsterdam, Pels&Kemper, Revolver, JRP Ringier and Ridinghouse.

Recent projects lead to collaborations with Krist Gruijthuijsen & Koen Brams, Scholten & Baijings, Katrin Korfmann, Jan Rothuizen and Mister Motley.

https://www.facebook.com/roosjeklap/info

http://www.groene.nl/artikel/dwarse-vormen

Joost Grootens (1971) is a graphic designer with a background in architecture. His studio designs books in the fields of architecture, urban space and art, specializing on atlas projects, designing both the maps and the books themselves. Among his clients are nai010 Publishers, Lars Müller Publishers, Phaidon Press, Gta Verlag, Vanabbe Museum and Museum Boijmans Van Beuningen. Joost Grootens has won numerous prizes for his designs. Among them the 'Goldene Letter' and two Gold Medals in the Best Book Design from all over the World competition in Leipzig. In 2009 he was awarded the Netherlands' most prestigious design award, the Rotterdam Design Prize. A monograph about his work titled 'I swear I use no art at all' was published by 010 Publishers in 2010. Joost Grootens gives lectures around the world regularly and has been teaching at Design Academy Eindhoven since 2002. He has also taught, conducted workshops or acted as jury member at various institutions in Asia, Europe ans North America. Joost Grootens is a member of AGI (Alliance Graphique Internationale).

http://www.designacademy.nl/Study/Master/Departments/JoostGrootens.aspx

Dr. Karel van der Waarde is lector van het lectoraat Visuele Retorica van het Grafisch Ontwerpen aan de AKV|St.Joost.
Hij studeerde grafisch ontwerpen aan de Akademie voor Industriële Vormgeving in Eindhoven (cum laude, 1986). Na een Master-studie in Informatie Vormgeving aan de Polytechnic van Leicester (cum laude, 1987) voltooide hij een doctoraat aan de Universiteit van Reading in 1994.
In 1995 startte hij een bedrijf dat zich richt op het onderzoeken van visuele informatie. Het bedrijf specialiseert zich in het ontwikkelen en testen van informatie over medicijnen voor patiënten, artsen en apothekers. Daarnaast worden onder andere formulieren, bewegwijzering, studieboeken, jaarverslagen en gebruiksaanwijzingen onderzocht.

Dr. Karel van der Waarde

http://www.avans.nl/onderzoek/lectoren/inleiding/grafisch-ontwerpen/karel-van-der-waarde

Tschichold claimed that he was one of the most powerful influences on 20th century typography. There are few who would attempt to deny that statement. The son of a sign painter and trained in calligraphy, Tschichold began working with typography at a very early age. Raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Blackletter Typography and the Nazis seized much of his work before he was able to flee the country.

http://www.designishistory.com/1920/jan-tschichold/

Paul Mijksenaar (born 1944) is a designer of visual information and is founder and director of the international design bureau Mijksenaar, based in Amsterdam and New York. Mijksenaar is a specialist in creating visual information systems, such as wayfinding signage for railway stations and airports including New York's JFK and LaGuardia, New Jersey's Newark, and Amsterdam's Schiphol.[1] His work for the Port Authority of New York and New Jersey was echoed in the set design for Steven Spielberg's film The Terminal.[2]
Besides his practice he is also a professor in Visual Information Design at the faculty of Industrial Design Engineering at the Delft University of Technology in the Netherlands. He also writes a monthly article in the Dutch newspaper NRC Handelsblad about everyday problems and solving them using information design.

http://en.wikipedia.org/wiki/Paul_Mijksenaar

(1940) Grafisch ontwerper vooral bekend door zijn 'confronterende' theateraffiches voor gezelschappen als Globe en Toneelgroep Amsterdam. Daarnaast betrokken bij tijdschriften (Hollands Diep, Hitweek, Kunstschrift, View on Color), catalogi, boeken, postzegels en tentoonstellingen. Beeke speelde een belangrijke rol tijdens de veranderingen die zich in de grafische wereld voordeden rond 1980, waarbij stijlelementen uit de new-wave werden overgenomen in de grafische ontwerpkunst. Hij kreeg in 2004 de Grafische Cultuurprijs.

Anthonie Johannes Beeke

http://www.cultureelwoordenboek.nl/index.php?lem=2827

Since his emergence as an artist in the 1980s, Christopher Wool has forged an agile, highly focused practice that ranges across processes and mediums, paying special attention to the complexities of painting. Filling the museum’s Frank Lloyd Wright–designed rotunda and an adjacent gallery, the exhibition Christopher Wool explores the artist’s nuanced engagement with the question of how to make a picture.

http://www.guggenheim.org/new-york/exhibitions/past/exhibit/4917

John Baldessari was born in National City, California, in 1931. He received a BA (1953) and MA (1957) from San Diego State College, continuing his studies at Otis Art Institute (1957–59) and Chouinard Art Institute. Synthesizing photomontage, painting, and language, Baldessari’s deadpan visual juxtapositions equate images with words and illuminate, confound, and challenge meaning. He upends commonly held expectations of how images function, often by drawing the viewer’s attention to minor details, absences, or the spaces between things. By placing colorful dots over faces, obscuring portions of scenes, or juxtaposing stock photographs with quixotic phrases, he injects humor and dissonance into vernacular imagery. For most of his career, John Baldessari has also been a teacher. While some of the strategies he deploys in his work—experimentation, rule-based systems, and working within and against arbitrarily imposed limits to find new solutions to problems—share similarities with pedagogical methods, they are also intrinsic to his particular world view and philosophy. Baldessari has received several honorary doctorates, the most recent from the National University of Ireland, Burren College of Art (2006). He has participated in Documenta (1982, 1978); the Venice Biennale (2003, 1997); and seven Whitney Biennial exhibitions, most recently in 2008. His work has been shown in more than 120 solo exhibitions and 300 group exhibitions. A major retrospective appeared at Tate Modern, London; the Metropolitan Museum of Art, New York; and Los Angeles County Museum of Art in 2009–10. John Baldessari was elected to the American Academy of Arts and Letters in 2007. He lives and works in Santa Monica, California.

http://www.pbs.org/art21/artists/john-baldessari

German-born painter, sculptor and printmaker; one of the leading Surrealists. Born at Brühl, near Cologne. Began to study philosophy at the University of Bonn in 1909, but became increasingly preoccupied with painting; self-taught, but influenced by van Gogh and Macke. Artillery officer in the First World War. The paintings of de Chirico helped to stimulate his interest in dream-like fantastic imagery, and he founded the Cologne Dada group with Baargeld and Arp 1919-21. Made collages and, later, paintings with irrational combinations of imagery. First one-man exhibition at the Galerie Au sans Pareil, Paris, 1921. In 1922 moved to Paris, where his friendship with Breton and Eluard led to active participation in the Surrealist movement. His discovery of the technique of frottage (rubbing) in 1925 provided him with a means of evoking hallucinatory visions. Collage novels and illustrations, including La Femme 100 Têtes 1929 and Une Semaine de Bonté 1934. Made his first sculpture in 1934. Went to the USA as a refugee in 1941, living first in or near New York, then in Sedona, Arizona; from 1950 again lived mainly in France. Awarded the main painting prize at the 1954 Venice Biennale. Died in Paris.

http://www.tate.org.uk/art/artists/max-ernst-1065

French painter, sculptor and writer. The art and ideas of Duchamp, perhaps more than those of any other 20th-century artist, have served to exemplify the range of possibilities inherent in a more conceptual approach to the art-making process. Not only is his work of historical importance—from his early experiments with Cubism to his association with Dada and Surrealism—but his conception of the ready-made decisively altered our understanding of what constitutes an object of art. Duchamp refused to accept the standards and practices of an established art system, conventions that were considered essential to attain fame and financial success: he refused to repeat himself, to develop a recognizable style or to show his work regularly. It is the more theoretical aspects implicit to both his art and life that have had the most profound impact on artists later in the century, allowing us to identify Duchamp as one of the most influential artists of the modern era.

http://www.moma.org/collection/artist.php?artist_id=1634

Italian sculptor and conceptual artist. He created his earliest works in a forest outside Garessio in 1968. He marked his presence there with an iron hand gripping a tree trunk (see 1978 exh. cat., p. 33); trees pierced by nails and laced with metal wire; and a plaster slab measuring his width and height and the depth of a brook. The works revealed his interest in establishing points of contact between man and nature. A member of the Arte Povera group, he continued throughout his career to explore the connections between natural and cultural forms. In 12-meter Tree (1969; Stockholm, Mod. Mus.), one of a series, he carefully carved into a beam of wood to recover the original form of a tree, leaving part of the beam untouched to signify its status as a manmade object.

http://www.moma.org/collection/artist.php?artist_id=4550

Hendrik Nicolaas Werkman nam binnen De Ploeg een bijzondere positie in. Hij begon zijn loopbaan als journalist en leerling-drukker en in 1908 richtte hij een eigen drukkerij op in Groningen. Als kunstenaar was hij autodidact en het vroegste van hem bekende schilderij dateert uit 1917. Zijn contacten met De Ploeg waren aanvankelijk zakelijk van aard, in februari 1919 drukte hij de catalogus bij de eerste expositie die de nieuwe kunstkring organiseerde. Later dat jaar werd Werkman lid van De Ploeg.

http://www.groningermuseum.nl/hendrik-nicolaas-werkman

Hendrik Nicolaas Werkman

De Nederlandse kunstschilder, beeldhouwer en dichter Karel Appel werd in 1921 in Amsterdam geboren. Hij was de zoon van een kapper en voorbestemd om zijn vader op te volgen. Toch koos hij voor de Rijksacademie voor Beeldende Kunsten. Na de oorlog reisde hij naar Luik en naar Parijs. In november 1948 was Appel betrokken bij de oprichting van Cobra. Hij liet zich inspireren door primitieve kunst, kindertekeningen en outsider art, die hij als onbedorven en zuiver beschouwde. Appel schilderde spontaan en kwam al werkende tot een resultaat. Zelf formuleerde hij het als volgt: ‘Ik rotzooi maar wat aan’.

https://www.rijksmuseum.nl/nl/ontdek-de-collectie/overzicht/karel-appel

"Georges Braque developed his painting skills while working for his father, a house decorator. He moved to Paris in 1900 to study where he was drawn to the work of the Fauve artists, including Matisse, Derain and Dufy, as well as the late landscapes of Cézanne. Meeting Picasso marked a huge turning point in Braque's development and together they evolved as leaders of Cubism. After a brief interlude in which he was called up to fight in the First World War, Braque's style developed in the direction he was to follow for the rest of his life. In establishing the principle that a work of art should be autonomous and not merely imitate nature, Cubism redefined art in the twentieth century. Braque's large compositions incorporated the Cubist aim of representing the world as seen from a number of different viewpoints. He wanted to convey a feeling of being able to move around within the painting. The still life subject remained his chief preoccupation from 1927 to 1955.”

http://www.artchive.com/artchive/B/braque.html

Gerardus Mercator, original name Gerard De Cremer, or Kremer? (born March 5, 1512, Rupelmonde, Flanders [now in Belgium]—died December 2, 1594, Duisburg, Duchy of Cleve [Germany]), Flemish cartographer whose most important innovation was a map, embodying what was later known as the Mercator projection on which parallels and meridians are rendered as straight lines spaced so as to produce at any point an accurate ratio of latitude to longitude. He also introduced the term atlas for a collection of maps.

http://www.britannica.com/EBchecked/topic/375626/Gerardus-Mercator

Gerrit Noordzij is one of the eminent Dutch graphic designers and (in all senses) writers. He has also been a path-breaking teacher at the Royal Academy of Art in The Hague, where from 1970 to 1990 he directed the course in letter design. Among the students from his classes are some of the most distinguished Dutch type and graphic designers. As a writer of essays and books, his works include the bulletin Letterletter (reissued in book form in 2000), De handen van de zeven zusters (2000), and The stroke. For more, see this incomplete bibliography.

https://hyphenpress.co.uk/authors/gerrit_noordzij

Reuben Margolin, a Bay Area visionary and longtime maker, creates totally singular techno-kinetic wave sculptures. Using everything from wood to cardboard to found and salvaged objects, Reuben’s artwork is diverse, with sculptures ranging from tiny to looming, motorized to hand-cranked. Focusing on natural elements like a discrete water droplet or a powerful ocean eddy, his work is elegant and hypnotic. Also, learn how ocean waves can power our future.

http://www.designspotter.com/dstvshow/2009/04/Kinetic-Wave-Sculptures-by-Reuben-Margolin.html

Sol LeWitt was an U.S. artist and a founder of both Conceptual and Minimalism art. LeWitt came to fame in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures") but was prolific in a wide range of media including drawing, printmaking, photography, and painting. He has been the subject of hundreds of solo exhibitions in museums and galleries around the world since 1965.