The 3D list November 1st



By Daniel R. Gould


It is week #10 of the 2007-2008 Amsterdam Art Season...already. Time flies when you are having fun! Have you bought anything as of yet? I did see red dots at a few select galleries last weekend. So, someone is buying. And that is as it should be. We must keep both the artist and gallery owners in food and lodgings. I think most people see it as glamorous to own a gallery, but it is a hard and difficult business; almost as hard and as difficult as being an artist.




Remember: My views on "Happiness, #2"@ <>


Also you can access the "3D List" @ these sites: <> ; <>  (lcik on "Amsterdam Articles;" and <> .








Bits & Pieces:




Museum Reviews:  Jewish Historical Museum:  Modern Masterpieces from Russia




Stedelijk Museum: All About Andy, Part II




What You Missed Last Week:




What Is Happening This Week:








More on what is missing at the new library. Clocks!  There are no clocks on any of the floors. The old location, on the Prinsengracht, had five clocks, in the main reading room, which represented the times for: Amsterdam, Paris, London, New York and Tokyo. And check out the toilets; there are no hooks for your coat...and winter is coming on...of course, the other complaints I listed have yet to be dealt with. What is the director waiting for?  A new library?




Last June, I answered an advertisement in the Int Herald Tribune for a job that sounded too good to be true: "Work at home, on the internet, two to three hours per week and make $3-4,000 a month." I replied asking for more info. What I got in return was a salesperson's pitch on why I was THE perfect person. N.B. I had yet to send my CV. I ignored the "too good to be true..."offer and about three weeks later, I get another e-mail from the "head office" saying, "We really want you...." I ignored that too. About a month later, the "Nigerian" letters began. You know the type, "My mother and father were cut into small pieces by bad guys...but they didn't get the $50,000,000 which I want to share with you...."




One letter came from the Public Health Minister of the Ivory Coast telling me that he and his friends had ripped off the coffers of this poor country for $25,000,000; and wanted a "trustful and worthy person" to fence the money. I decided to respond to this letter with a copy going to the Ivory Coast ambassador at Den Haag. The letter to the Pub Health Minister was to

read:  "You should be ashamed of yourself..." Couldn't find an address for the embassy; nor when I googled did anything come up. Nothing! Doesn't this country exist?




Another letter arrived from Prince Larry M. of The World Bank. I had "won"

about one million dollars for my own private development concept. I went to the World Bank's site and searched for such an award. Nothing. But I did find the "Legal" department for the Bank and I replied to Prince Larry (who had told me to keep this a secret) with a cc copy to that department. Did this scare them away?  No!  About a week later, I get another e-mail saying they needed more info to "process" my check. I didn't reply. Ironically, I never heard from the Work Bank's Legal Department. Don't they care?




Even more interesting, each letter tells me that they got my name by searching the internet for a "trustful and dynamic business man." However, they never use my name. It is always: "Dearly Beloved," or "Dear Winner."

Since the 11th of October (today is the 29th) I have received 32 such letters. And it all started with my answering a "Help Wanted Classified."

Mama, mia. (Since writing this yesterday I have been notified that I have won $2 million in the South African Football Lottery. The e-mail has this

heading: "Please note that many people are using the name of this office for fraud, so beware...." I least they are honest to a degree.




Christmas is coming not to mention Sinter Claus. Here is a tip. Boekie Woekie (Berenstraat 16) is offering limited edition books at bargain prices.

Check out their web-site for a listing and add you name to their mailing list. <>




Remember this word? Antidisestablishmentarianism?  Last week, I was looking for a word that I did not know "noosphere." I checked all the "big"

dictionaries at the new library and then, by accident, I saw, on the lower, shelve a very big volume that because of its size had to lie on its side. It is "Webster's Third New International Dictionary Unabridged," (1993). It is

2,662 pages of small print. And

"antidis......................................" is not listed there either.

I repeat, how can it be the biggest English language word if it AIN'T in a dictionary. I had read an article that used the word to define the original reason the USofA founding fathers' had for insisting on the "separation of church and state." The context it was used in was murky. Thus I wanted clarification. Hmmmm.










The Jewish Historical Museum:  "Modern Masterpieces from Moscow:

Russian-Jewish Artist, 1910-1940."




The Russian Revolution brought equal rights to the Jewish people of Russia.

In fact, many Jews had supported the Bolshevik's seize of power. It was an exciting time! Russian artist who had left for Paris, to continue their studies and work, returned to what they perceived would be a new climate.

Kandinsky was one of them, but he didn't stay long before deciding to return to France. The Party line was not always in sync with what the artist was thinking. And during the 20s the "Jewish Renaissance" came under fire, but many Jewish artist continued to try and contribute " create a better society." The 30s were even more difficult. The Stalin purges began about

1936 and continued until the out break of World War II.




Jewish subject matter "...was disqualified as religious, bourgeois and thus non-socialist; art must serve communism" was the mantra. It was only in the Jewish theatre that had a very limited audience, that there was a "freedom"

for the expression of Jewish culture.




This show covers the period from the emergence of both the Russian avant-garde---which was heavily influenced by what was happening in Paris---and the Jewish Renaissance from around 1910 until the height of Stalinism around 1940.




In 1918, Lissitzky, Brodsky, Chagall and Altman would participate in an "Exhibition of Painting and Sculpture by Jewish Artist." This early work of theirs is on exhibition. It is revealing how much they had picked up on the artistic movement further to the west. There is "Portrait of Midkhad Refaton," (1915) a writer, journalist and political activist---he would later be executed by the White Army  who attempted to re-establish tsarism, in 1920---by Robert Falk. It is cubistic in style and reflects what Picasso and Braque where doing. Falk also combined cubism with fauvism in "Woman in Red Gown: (1918). Nathan Altman painted a self-portrait in a cubistic style as well. The Russian were there at the beginning. What is note worthy, as well, are the frames. They could not be cheaper; or simpler. If these paintings had hung in a New York penthouse or an English estate the frames would have been heavy with rococo in gold. They do reflect both the times and conditions of the early communist state.




But the Russians had their own movements of avant-garde styles. There are three pieces hanging side-by-side: "Russian, Labour" (1921) by Nathan Altman;  "Color Form Construction in Red" (1923) by Alexander Tyshler;  and "Suprematism" (1923) by Ilya Chashnik.




Altman's work is a mixed media painting on panel, but the title reflects the new Socialist state. He was an important factor if the Russian movement of Constructivism. It was notable for  the abstract construction of line, plane and color.




Tyshler's piece is inspired by constructivism. He saw "his color form constructions as color-dynamic compositions of lively lines against a background of planes of saturated color."




Chashnik's was heavily influence by Malevich, or so I assume. Who came first, I don't know. But he used the same "cross motif" as an architectural character much like Malevich, but where the latter did his in shades of white Chashnik used a "more expressive but equally empty black plane."




There are several El Lissitzky on display. A design for an unrealized "Tribune" done as a drawing and collage is a beautiful linear mixed media piece. Forget that it is meant as an architectural concept drawing and enjoy it for the visual effect. Another mixed media piece (gouache, Indian ink, pencil and photo collage on cardboard) is a stand out.




Alexander Labas's "Lenin's Arrival in Petrograd in 1917" is very unusual in style and I would describe it as figurative/impressionistic/expressionism.

His "First Locomotive on the Turk Siberian Railway" (1931) conveys a sense of motion.




Solomon Nikritin's "Farewell to the Dead" (1926) is a surrealistic representation of a funeral without a body. Simple forms are pictured that give the composition a feeling of unison despite the diversity of people.

There are several more examples of his work, mostly drawings. We see 26 examples of them ranging from simple line drawings that are reminiscent of the German expressionist Grosz. The liner notes said "He was part of the last important Russian avant-garde movement...[It] employed a 'conceptual'

approach in which the creating projects was more important than producing objects. Anyone could carry out the conceptual for the project."




The Jewish element, to this show, is only coincidental. It is a very good overview of how the Russian artist reflected the avant-garde scene that had developed in Paris and how it transpired into more conventional work as the Soviet state became more oppressive.






Stedelijk Museum:  "Other Rooms, Other Voices."




"All About Andy." Part II:




Someone asked me, at the opening reception of the exhibition, if I had ever met Andy? "No," I replied, "but I think I was in his presence one time."




I was living in Manhattan; and about once a week I would stop at the Oyster

Bar Restaurant which is a huge place (seats over 500) just below the lobby

of Grand Central Station. It is divided into perhaps four or five sections.

There is a formal restaurant with tables and there is also an area with

three of four sets of counters each in a "U" shape configuration. I was

slurping away at my New England clam chowder when I happened to look up.

There was a man, sitting about two counters over, staring at me. My first

thought was, "That looks like Andy Warhol." But the Big Apple is infested

with look alikes and some make a point of emphasizing it. It would only be

about 20 years later, when I was reading "The Andy Warhol Diary" (like 'The

Chelsea Girls,' I wasn't able to finish it) that I would think once again

about the incident because he mentions how he would sit in coffee shops and

at lunch counters and  stare at people. Andy was a voyeur. And it is this

voyeurism that is at the heart of his film oeuvre.




He began making film in 1963. It was then that he had announced, in Paris,

that he would no longer paint. Celluloid would be the new medium to convey

his expressions of art. And, even more important, real people being

themselves. Not acting, but putting on an act all the same. He had probably

been influenced by John Cassavetes "Shadows" (1959) a film in which the

actors improvised influenced by a simple story line. Andy went a few steps

beyond. First of all, he selected people who hung out at The Factory (his

studio); they were his disciples, hanger-oners and others who just happened

to drop by. They were, for the most part, freaky-looking or beautiful types

whose sexual identity could be heterosexual, bisexual, transsexual,

transvestites or with androgynous identities. The "beautiful" ones like Edie

Sedgwick or Joe Dallesandro played central roles in his productions. Neither

could act though Edie emoted, sometimes dramatically, for the camera and,

generally, over-acted and while Dellesandro was ever gay man's vision of

perfection he came across, on camera, wooden and without any persona.




It didn't matter. His film work was not about story telling, nor acting nor

recording some historical moment in time. It was all about voyeurism.

Watching people mug for the camera; or loose patience with the exercise and

become either uncomfortable or bored. The 99 minute silent16mm b/w film (at

half speed, 16 frames per second) of Henry Geldzahler is a perfect example.

It could be argued that Geldzahler was important to Andy's career since he

was a curator at the Metropolitan Museum of Art. But this didn't stop Warhol

from putting him on a sofa and, after a short duration of time, leaving the

room. Geldzahler, at first, "plays" to the camera. Then seems to grow

irritated and finally resorts to stretching out in an almost fetal like

position. Not at all flattering.




The actors" did not "act," they played themselves for better or for worse.

"Kitchen (1965, 66 minutes, b/w) is a perfect example of Edie Sedgwick

trying to act. She gives it her best shot. Heavy use of hand gestures, body

movements, verbal expression, anger, etc. but there is still the sense that

what you are seeing is neither a "documentary" nor a film of "fiction" but a

poorly improvised attempt to fashion film into "art." Does it succeed?

That's for you to decide.




He made 40 films as creator, director or producer. In the "Filmscape"

gallery we see 19 examples (including the two mentioned above). There is the

infamous "Empire" with a running time of eight hours and five minutes; and

"Blow job" of which the most provocative element is the title. However, with

that said, it is one of the few cases where we do see some creditable acting

(or is he acting?). The camera focuses on the head of a young man as he is

administered to: "The duration of the act leaves the mesmerized viewer

plenty of time to study the film countenance, which reveals a multitude of

emotions ranging from ennui and pleasure to sexual gratification and

alleviation." And Andy's subject matter was often sexual in nature though

not really overt, but that probably had more to do with the time period than

any other consideration. Pornography was still tightly regulated in America.




But "Filmscape" is important because it brings together 25 hours of running

time of his more important "work." Boring? Yes! But there are moments.

Innovative? Maybe. Revealing of his persona? Very. It is claimed by the

students of film that "The avant-gardists saw in his films experimentation

dealing with cinematic time and space." Whatever that means.




I rather liked in a small gallery the showing of his "Screen Test." In

Hollywood, a screen test had the actors performing short scenes. Andy's

version is putting the people before the camera and just letting the camera

roll. They become animated portrait studies. In some, the subject appears to

go through a catharsis identity crisis. Salvador Dali is one subject and he

comes across as wooden and totally unemotional. There is also Marcel

Duchamp, Niki de Saint Phalle, Lou Reed, John Cale and Edie, of course. Some

are better than others. And some do reveal themselves. I did have one

complaint; it was difficult, sometimes, knowing who was on screen. There is

a tag on each of the four walls, on which the film is projected, but to

follow it you must know at least a couple of the players. I found myself

walking up to the tag, several times, and trying to figure out who this

person is. There are 40 screen tests in all.




Cable television came to New York during the 70s. But it was only in the

later 70s that it became mildly popular. It would be only during the 80s

that it began to challenge regular TV broadcasting. Andy was late in getting

involved. But when he did he did it professionally. Gone was the 16mm

camera; the b/w film and improvisation was replaced by questions with

improvised answers. But the voyeurism is still there. Now he is dealing with

people that are in "the news" for whatever reason. Some are familiar names

to the in crowd: Larry Rivers, Paloma Picasso, John Richardson, Debbie

Harry, Diana Vreeland, et al:  others are not so well know:  Miss Han, Susan

Sha, John Quinn, Ron Link, Zandra Rhodes. What they all have in common is

their "15 minutes of fame," that, in some cases, has now been reduced to 15

seconds. We sit on seats, in the shape of a star, and on the seat, itself,

is a listing of the people appearing on the video screen before us. I should

mention, at this point, that the show's presentation was designed by

chezwitz & roseapple, a German company. If you want to see every minute of

every film and video piece, in this exhibition, it would consume over 45

hours of time.




The "Cosmos" section is a show in itself. We start with the beginning of his

career. He was not trained as an artist but as a graphic designer. There are

drawings of shoes which he did for  advertising campaigns. There is a line

drawing, "Female," (ball point, 1956) that owes much to Henri Matisse. In

fact, his drawings would have been more fitting for a comic strip. However,

"Unidentified Male" (graphite, gold leaf and ink, c. 1957) is an exception.

It is figurative but in a conceptual sense and perhaps reflects Warhol's

duality of his self image as male or female.




That theme is repeated often. There is a series of Polaroid's of Andy in

drag; 20 examples. He is wearing a wig---several variations of styles---and

with full make up. They sometimes look like a  police mug shot, that is:

expressionless.  We see him poising as Truman Capote, a writer that seems to

have been an alter ego of Warhol. He emulates him in several poises and then

captures the real Capote on camera. In many ways, they were much the same in

their personality. They liked the limelight and surrounded themselves with

New York's "beautiful people."




Warhol got the attention of the art world and non art world with his

painting of a Campbell's Tomato Soup can. Ten years later, he went on to

maximize income from the concept by expanding the idea by making silk

screens. We see, again, ten Campbell soup cans, but now each print is a

different type of soup: Black Bean, Pepper Pot, Onion, Tomato, Green Pea,

etc (1968) and  Marilyn Monroe in ten color variations (1967); as well as

ten Flowers, again, each in a different color variation (1970).




There are also the trivial.  Twenty-six LP covers that he designed for

people like: Diana Ross, Lisa Minnelli and Aretha Franklin. There are also

the graphically imaginative works which he did for The Velvet Underground

like the one with a pictured banana that could be "peeled." It is sexual

suggestive and bold for the time. This is true about the Rolling Stones

"Sticky Fingers" cover with a real and working zipper on the front. The

title of the LP says the rest; it was risqu×™ for 1971.




I have saved the entrance, to the show, for last. As we enter the first

room, on the wall, to our right, is a biography of Andy in 46

photos/pictures. It many ways it tells as everything there is to know about

this man who described himself as being "very superficial." There are photos

from when he was a kid in Pittsburgh and a copy of The New York Post

headlining the fact that he had been shot. That would be another turning

point in Warhol's life.




Finally, there is a publication for the show called, simply, "Andy." It cost

only 2, 50 euro and emulates Warhol's magazine publication "Interview" I

direct you to an article titled "Late Afternoon At Andy Warhol Enterprises,"

by Rob Malasch, from January 1979. What is most revealing is Andy's answer

to Malasch's question: "What did you think about when you were in the

hospital after being shot?" Andy seems taken back by the question and

stammers, "What! I never think! Here [The Factory] everything went on as

usual...I realized I had a well oiled operation and it just went on without

me...I was happy because I could decide that business was the best kind of

art...I started as a commercial artist and I will finish as a business

artist. Because I've proved I could be a 'serious' artist, I went into

business art. A good businessman is more fascinating than anyone else!

Earning a lot of money is art and working hard is art too. Being good in

business is the highest form of art."




Rob also asked if he, Andy, had any underlying message in his work? "I don't

have a special message. I  wish I did. It would be so great if I had one. I

think 'entertainment' is the best message. So I try to stay funny."




And he laughed all the way to the bank! Was Andy Warhol one of the great

artist of the 20th century or was it all a put on?  Yeah, well, both...and

that's what this show is all about; it really is All About Andy. To take it

all in, you should see it several times. You have until the 13th of January









At NewsPhoto (Haarlemmerstr 24) showed a Brazilian photographer, Emilo

Brizzi, who makes his home in Amsterdam. He uses an unusual technique. He

puts a special filter lens over the main lens so that he can take infrared

photographs. This is a spectrum of a light wave that is not visible to the

human eye. The resulting photographs are somewhat eerie, but in a pleasant

way. We see Vondel Park (seven examples) in a whole new light. (Now that's a

good pun.) (30x45 cms @ 85 euros.)  Until 28th December.





Carhartt Store (Herenstraat 18). Three artist showed and all collaborated on

making a wall painting at the entrance. Dumboh makes illustrations with an

African theme. He transfers the drawings on to plexiglass. Bobby Pola draws

very intricate images that border on the abstract and surreal. Via Via

(Leonard Schuurmans)  work reminded me of the Beatles animated film "Yellow

Submarine." When I asked the artist if he had seen it his reply was "It was

a big influence on my work." All the pieces are laser copies using different

techniques and surfaces.





Jac Bisschops exhibited his paintings at ARTTRA (2e Boomdwarsstraat 4). They

are minimalism as abstraction. There is an element of De Stijl in his

compositions and the attractive colors; each painting has only two or three

colors. The work is also monumental in that these 96x113x5 cms (4,750 euro)

paintings seems much bigger. In fact, note that there is an added dimension

and that is the thickness of the stretcher. There are also works on paper

measuring 20x30 @ 950 euro; 40x50 @ 2,300 euro Until 23rd November. <>




Should you go by ask to see the work by an Iranian painter (lives in

Amsterdam) Hassan Modleyani. His work is like a contemporary impressionist'

artist working in an abstract style. I only saw one piece, in the gallery's

backroom, but that wet my appetite to know more about this artist.




Everyone is a critic....This came to mind at The Gallery's opening

(Leidsegracht 76) for Henk Veen. Someone had written in the guest book:

"Herman Brood rip off." Well, "rip off"  is not the correct term. He

emulates the late Brood and doesn't hide the fact. His painting "You're

always on my mind" shows a reflection of Brood, on a highly polished piano,

as someone (Veen?)  plays it. He uses Amsterdam as a background---as well as

pigs, elephants and even mice---in many pieces and enhances everything with

typography:  "Got lost on the Subway," "You are my inspiration...Dolly

Parton." Huh? There was a b/w canvas that was an abstract and very nice. 

(30x30 cms 250 euro; 50x60 cms @ 600 euro;  100x120 cms @ 2,250 euro.) 73

examples on display. A big show; and a nice one.  Sorry, I couldn't find an

invite with all the info like web-site address, address and what not. This

is a very secretive gallery!




I do open ateliers when there is time. This fall, I have yet to do one.

However, I did get an invite to the opening reception for De Pijp Open

Ateliers which was held at the Oranjekerk. This was the central viewing

place for the exhibition. First of all, this is the first time I have been

in this former church though, I am sure, I have passed it well over 100

times. What a nice surprise!  Some old churches, that have been preserved,

are as they were originally like the Nieuw Kerk and Oude Kerk. But others,

like Post Horn Kerk, Vondel Kerk and the Oranjekerk have been reconfigured

in some ways. Offices have been added, but some of the dramatic aspects of

the architecture have remained. This is true about the Oranjekerk. The main

part, where the altar was located, is still there but there is an addition

of a steel mesh cage which literally enhances the space in a very dramatic





Flanking the altar are two Art Nouveau chandeliers which are stunning. The

actual altar is a very clean and Danish like piece of furniture and, as I

was making my notes, there was a piano player at a baby grand playing Chopin

and Brahms.




In the same room, Thomas Mohr, hangs "Genesis" which is composed of 18

canvases and the overall measurements are 480 cms by 180 cms. Each is almost

monochromic filigree (the textured lines that make ridges through the paint)

and is in b/w as well as colors. Nice.




Gita Hachan's balloon installation "Temporary Roots in Heaven" was both

dramatic and monumental. (1,000 euro.) Barbara Damen's conceptual video was

mesermizing; the only thing missing was sound. At the entrance to the church

was an installation by Marlijn Franken titled "Reines Migraines" (2007)  She

generally does textile---and costumes---but, here, she adds an additional

dimension, about 40 ceramic hands scratching their way up the door and wall.

It was a dramatic beginning.




The organizers did an exemplary job. The work is hung nicely and the maps

and information is complete and very useable. To bad you missed it! You

don't know...if you don't go!






At Reflex New Art Gallery is a show for a Japanese photographer, Yasumasa

Morimura, titled "On Self-Portrait: Through the Looking Glass." At this

point, it is necessary to make a clarification: Morimura is a MAN. It is

important to note because nearly all of the 150 hanging photos appear to be

a woman. I mean, there is Marilyn Monroe (four or five times); Faye Dunaway

as Bonnie from the film "Bonnie and Clyde" with pistol and machine gun

(three times); Audrey Hepburn as Holly Golightly; and even Lisa Minnelli as

she appeared in "Cabaret." Are these all alter egos?  Is he a cross dresser

in his every day life?  Someone who seemed to know what they were talking

about said that at openings , in Japan, he always wore a suit and tie and

comes as a man to his openings. Each photo is a "unique piece." They are all

instant color or instant b/w photos and he uses them as preparatory studies

to making large over sized photographs (examples also on display).  Each is

priced @ 1,600 euro and there were 38 red dots when I was there. Until 15th

December. There is a special edition of a book, in a specially made case,

with one photo included, and priced at 2,450 euro.





Alicia Framis has been living in China since2006. This Spanish artist hangs

photographs, at annet gelink gallery (Laurierstraaat 187) of Asian children

with a necklace and metal plate that says: "Not for Sale." Of course, it

refers to the fact that children are a sexual commodity in many Asian

countries. In fact, all her work, in this show, reflects social issues.

"China Five Star---100 ways to wear a flag" (2007) pictures Chinese women in

dresses made from the Chinese flag and is meant to "...empower women by

preserving them in a national symbol."




In The Bakery, there are 365 miniature chairs each with a date on them. They

represent people who have gone missing and the "...only thing left behind is

the date they disappeared." Until 8th December.





At Ronmandos (Prinsengracht 282) there was a group show titled, "Theatre of

Obsessions." Eva & Adele, are German artist, and seem to reflect, in their

persona, Gilbert & George but as we would have seen them during the Weimar

Republic's decadent Berlin. Read that to mean, they dress flamboyantly.

VERY! Each has a shaved head and garish make-up, as to their sex, I have no

idea. ( I just read the press release---should have done that first---anyway

it says:  "Eva & Adele, the self proclaimed 'Hermaphrodite Twins from the

Future, 'are celebrities as 'living art,' having made and been art [sic]

together since their wedding ceremony in 1991." But it is the work that is

important or should be. Well, the work reflects their costuming of

themselves. The canvases are garish with kitschy colors. All the figures

pictured are also bald headed and there are lots of eyes. Voyeurism? The

work will either thrill you for its exuberance or revolt you for its

avoidance of any formal composition. Eight small paintings are more

accessible. There are self-portraits but each in the style of people like

Max Ernst, Francis Bacon and Magritte. In a small room are 25 drawings and

or mixed media. Many with sexual overtones: "Over the boundary of gender" is

stamped on a few. (40x60 cms @ 3,800 euro; 88x77 cms @ 7,000 euro; 150x200

cms @ 17,500 euro.)




The invite said, "...a number of beautiful chandeliers from Hans van

Bentem." In fact, there is only one!  But it is special as well as dramatic.

It measures 150x120x75 cms and is shaped in the image of a human skull with

cross bones where you would expect a necktie to be. (I rode my bike by the

gallery, yesterday, and it was already dark and it was lit up. Well, for get

dramatic. Try "Spectacular!!!" There are five glasses piece, hanging from

the ceiling and about two meters long that represent the body or the





Artist Anonymous is a joint effort of four or five Berlin and London artists

that sometimes work together. They have an installation that is like a room

in an older person's house. Read: dark and moody furniture. To make it even

gloomier, the wall paper, in a traditional style, is black. And there is a

partially laid wooden slat floor. It is murky and removed from reality.

However, this environment is juxtaposed with seven c-prints photographs that

are back lighted. There are three on the wall and the others have become

part of the furniture. The one with the lighted photo as part of a

newspaper---which is laid on the sofa---is a clever piece. Sorry, I forgot

to check the prices. Until 22nd December.





Matt Bryans (English) was at GMVZ (Prisengract 276).  Well, this is an

unusual exhibition. Unusual because only two pieces are on exhibit. However,

if you are interested, there are another10 pieces to see hidden somewhere in

the gallery's backroom. Anyway, I digress..."Green Mountainscape" (2006) is

in Cinescope like piece. Remember that term from the 50s and 60s movies?

That is, it is 550 cms by 117.5 cms of "erased newspaper cuttings." A

collage in shades of blue. Rather nice and ONLY 17,000 euro. On the floor

there are about 250 small (3 to 10 cms) high aluminium burnt foil sculpture

pieces @ 22,000 euro for the lot. Bring a big bag.




Elspeth Diederix is doing something a little different from her earlier

work. At her show at Diana Stigter (Elandstraat 90) she is focusing more on

nature but in a reverent manner. The light has always been a main element in

her work and, here, she maintains the approach. Until 22nd December. <>




Grimm Fine Art (Hazenstraat 17)  exhibited the work of Ross Tibbles in a

show titled "False Snow." I said, in last weeks list, that the invite got my

attention. Unfortunately, it didn't begin to represent the work. These

collages and mixed media pieces are large: 96x91 cms @ 3,400; and 150x206

cms @ 7,200 euro. The one reproduced on the invite measures: 107x81 cms @

3,600 euro. This is not typical collage work. The materials are often as

interesting as the image itself. Until 30th November.





Almost next door was a show for Allen Jones, the Pop School artist at Kצhler

Mller (Hazenstraat 11). This is a very good, though small, retrospective of

his work from as early as 1965 and as recently as 1998 (the latter,

exhibited in the toilet!) I have only seen a sampling of his work, over the

years, and mostly in books. He specialized in "shoes" and "leather" clad

women wearing stiletto heals. But don't let that put you off. His color work

is really spectacular. If you don't know his work, this is a good show for

you to educate yourself. ("Rossi," in the toilet, ed. 5,000, 19x17 cms @ 400

euro; "Por los Adultes" ed. 75, 1985, 145x123 cms @ 4,000 euro.) Until 8th

December. <>




Motive Gallery (Elandsgracht 10) hung the work of Vivianne Sassen. To put it

simply, her photographic work is breathtaking! She emphasizes her African

subjects' skin pigmentation by making it appear even darker and Ghana's

population is very black. But she surrounds her subjects with color or

geometric configurations. She shoots everything from living and active

people to what looks like a freshly dug grave; indeed, a photo, below, shows

man carrying an empty coffin. Her drawings are also very special. Basically

they are simple line drawings but the figurative often becomes an

abstraction. (40x50 cms  Ed. 3 @ 1,650 euro;  125x100 Ed. 5 @ 3,900 euro.

Photos. Until 1st December.





At aschenbach & hofland galleries (Bilderdijkstraat 165) is the work of

Julia Mnstermann. These are beautiful paintings. Cityscapes, birds-eye view

and what have you. But it is not the subject matter that is important it is

the way she imagines these scenes. It is sort of contemporary impressionism.

You don't really focus on the imagery but on the overall composition. There

are eight works hanging six already had red dots. Hey, that means something!

(22x30 cms @ 900; 190x160 cms @ 5,500 euro.)  Until 1st December. <>




At Bruijstens Modern Art (Herengraacht 390) Alain Platet exhibited his

objects made from old rope, tin, old wood, paper wire and just about any

other material he can find. His work is often whimsical. In one large piece

he uses a long 150 cms hand saw with short slats of wood attached and old

cloth ties. "Grand Signal 45" (@ 4,800 euro) is a two meter high wood

ceramic object standing on iron spikes.




Paul Versteeg is an artist from the 60s and 70s. His "Panelen Groot" is

large oil (165x200 cms @ 16,500 euro) of rectangular and triangular forms

painted in reddish brown. "Abstract Licht" (105x80 cms; @ 5,300 euro) has a

Malevich feel with its blacks, grays and white color composition.




There are also several pieces on display from some of the icons of the 20th

century including Braque, Appel and a Jan Schoonhoven color abstract

painting from 1953. Six small drawings and washes by Kees van Dongen are

very nice. <>




Lefteris Olympios hung work at Galerie Josine Bokhoven (Prinsengracht 154). 

What stand out are the twelve photographs that he highlights with tempera

paint. The scenes are of simple mountain houses or small village churches.

(800 euro.)  His paintings are large portraits or full body renderings of

females. The technique is casual. (150x100 cms @ 3,000 euro.) Until 4th






Boekie Woekie (Berenstraat 16)  is a preview of an exhibition for the Van

Abbe Museum in far way Eindhoven. See, if you had gone, you would have saved

yourself a long trip. But, hey, there is still time. Simon Cutts shows his

typography examples which are framed to emphasize the letters. This

sentence:  "the camou flaged mag pie whose white parts are sky [sic]" is

divided into 10 small (10x12 cms) frames as written. On the room's floor

cornice is a multiple piece that was inspired by a door stop found at the

old Stedelijk site. Each drawing is a simple triangular pencil rendering of

the object.




Eric van Ham has, on display, in very limited edition of 25, "Late starlings

startled by traffic resettle." There are nine very dark midnight blue cups

from a letter press. Simple and very elegant. There is also an interesting

book that documents, sort of,  the Irish change-over to the Euro. Called the

"Money Jar" they took a "one pound jar" which was traditionally used for

measure makings, buying and selling jam and jelly. This book documents the

weighing of the different denominations of pre-euro Irish coins that would

disappear forever at 01:30 on the 1st of January 2002. The layout is very

special. Edition:  1,000, each individually numbered. Damn, forgot to note

the price, but, hey nothing was expensive. There are about 13 + original and

limited edition books on sale in editions from 100 to 1,000 and priced

between 5,00 to 29,50 euro,




It is that time again....








Reminder:  (?) denotes that the info made be incorrect. And the "*" means

that the times could be wrong. When you see them, phone or check their

web-site before going.




THURSDAY:  1st November 2007


THURSDAY:  1st November 2007




17-19:00 HUP Gallery, (Tesselschadestraat 15), Jehsong Baak, "The New Black

& White #2." <>




17:30-19:00 FOAM (Keizersgracht 609). Ryan McGinley (USA)  "Celebrating

Life." According to the invite he is "today's most promising international

photographer." This is his first show in The Netherlands. He photos friends

as they go on the road and cross America. <>




FRIDAY: 2nd November


FRIDAY: 2nd November




17-19:00 WGKUNST (Marius v.b. Bastiaansestraat 28).  Marian Bijlenga and

Joop Haring, ןn wolken van steen en stof."





17-20:00 2X2 PROJECTS (nee Carl Berg Project), a new name and a new address,

Veemkade 350. "Undercover: Sabine Dehnel, photography, paintings and

temporary installations. <>




20:00 Das Arts (Mauritskade 56). "Glamour." Enjoy an evening of music;

entertainment by nine people. "Tenue de ville required." I had to e-mail an

ask what that meant. The reply: Dress code:  Man wears lounge/town suit

(black tie);  woman wears town dress/suit. Well, that sorta clarifies it.




SATURDAY:   3rd November


SATURDAY:   3rd November




13:00-? Kunstcaf×™ Dwaze Zaken (Hendrikkade 50).  Marry Linke's first solo

exhibition titled Ö»xposure." Photos.




16-18:00 Royal Gallery (Koningsstraat 37).  Here is something unusual:

"Painted Jazz Themes" by Bill Paglin. What is unusual is that he is 100

years old. He was a professional musician who took up the brush at the age

of 40...and is still going strong. He now lives in Italy and the invite

implies that he will be present. Also a live Jazz performance by Barbara Jai

(Chicago) and the Menno Radema Trio.




16-18:00 galerie ra (Vijzelstraat 80, hoek of Prinsengracht). "Australian

Vessels & Objects, 10 artists will exhibit.





16-18:00 Galerie Mokum (Oudezijds Voorburgwal 334).  Clary Mastenbroek.

Nudes/oils. <>




20:00 Horse Move Project (Oosterdokskade 5).  Presents:  "Ritual Tendensies"

by Lorenza Boisi, Barbara Rink and Iris Zugovic. All painters. <>




21:00 SmartProjectSpace (2 the WG) "Kiosk 7: Oud West Kiosk" exhibition by

Gavin Wade (UK) and Simon & Tom Bloor (UK). I went by there, last night, and

thought I would check on the Coded Cinema.  I didn't need the code since the

door was ajar. When I opened it, I was met with a cloud of smoke. Through

the murky like mist I saw the Hunchback staggering down one of the short

aisles---beer in one hand and a smoking object in the other--scurrying to

HIS seat. I immediately closed the door.




22-24:00 Steendruikkerij Amsterdam (Lauriergract 80). Sam Drukker, "8x

staand, 8x liggend" two series of erotic lithos and drawings.




(?) TORCH (Lauriergract 94). Hans Broek, paintings.




SUNDAY:  4th November


SUNDAY:  4th November




14018:00 de Salon (Wolvenstraat 13).  Geri Bij-de Haan, paintings, and

Marijke Koops, ceramics.





14-17:00 PS (Leidsekade 60). "Sieg ber die Sonne." Lars Breuer, Sebatian

Freytag and Guido Mnch.





16:00-? ABC Treehouse (Voetboogstraat 11, just off the Spui). This is a

really big show...over 50 photographers and, I think, the theme is

"weather." Erwin Kroll, a TV weatherman, will open. I say "think" because I

have two notes and one that mentions "weather" doesn't mention where the

storm will be; and the other, which give the gallery name and address just

says "photos by 50 artists. Gotta get organized one of these days.




MONDAY:  5th November


MONDAY:  5th November




20:30 De Brakke Grond (Nes 45). An avant-garde combo "Capsule" (soundtracks

for cult like films) and the Vlaamse Theatre Group, "Abattoir Ferme." For

more info, check their web-site:

<>   if you e-mail ahead you get in free.




(?)20:00 Maison Descartes (Vijzelsgract 2). This is weird. I googled "Maison

Descartes, Utopia, Amsterdam" and the page, the came up, said only that it

is from 5th November to the 30th.




TUESDAY:  6th November


TUESDAY:  6th November




16:00 Platform21 (Prinses Irenestraat 19). Presentation for the magazine

Morf. RSVP:




...And, remember...this Saturday is Museum Night. I don't cover it, so

you'll have to do it yourself. So, there!!!




Another exciting week in surprising Amsterdam. "Surprising Amsterdam" was a

slogan KLM used about 30+ years ago to promote the city. Today, it is

IAMsterdam and it is still surprising. Surprising that there is so many art

venues for such a small metropolis; and surprising that art is so cheap here

compared to New York, London and Paris. Think, 20 years ago, you could have

an original painting by Marlene Dumas, for next to nothing, and, in the last

two years, two paintings, from that period went, at auction, for over

$1,000,000. Buying art is better than winning the lottery! And the more you

see, the better you are at "guessing" what will escalate in price over the

years. So, go to know!!!
 leaving to seek his fortune....