FENDI SS24 RTW

Sonia Delaunay

Compositions, Couleurs, Idées, 36 plates

1930

Jafar Rouhbakhsh (1940-1996) — Untitled [mixed media on canvas, 1991]

Josef Albers, Ascension, 1972, Bochum, Ruhr-Universität (HGA Building).

Kenneth Noland

Proun 99 - El Lissitzky

“Commenting on Proun in 1921, Lissitzky stated, ‘We brought the canvas into circles ... and while we turn, we raise ourselves into the space.’”

(source)

“Elemental 12" (Deconstructing Cadmium Red)

[Elemental series)

by michael mathews

mixed media on hardboard

10x17 inches

2023

www.transientcolors.com

Abstract Swirl, 1917, by Sonia Delaunay

Nessim Bassan. First Mechanism Used To Make Silk in Yangshao Culture, 2023.

cotton threads, acrylic + wood on canvas

TWELVE LITHOGRAPHS: "SUN AND MOON" BARBARA HEPWORTH // 1969 [lithograph in black and red on paper | 740 x 550 mm.]

Victor Vasarely

Eroed-Pre

1978

Toshinobu Onosato (1912-1986) — Painting B-4 [oil on canvas, 1960]

Unbeknownst to millions of Germans at least one artwork by Günter Fruhtrunk is frequently present in their everyday lives, namely in the form of bags from the discount supermarket chain Aldi. In 1970 Aldi Nord owner Theo Albrecht commissioned Fruhtrunk to design a distinctive plastic bag and the result was a to this day immediately recognizable scheme of white and blue stripes.

On the occasion of Fruhtrunk’s 100th birthday the @kunstmuseumbonn up until March 10, 2024 dedicates a retrospective to the artist that covers all work phases from the early 1950s to the early 1980s until Fruhtrunk’s suicide.

His work was of great clarity and a machine-like precision that consciously avoided any individual expression as a reactive response to the contemporary celebration of the individual. His art is of a shimmering presence and only peripherally related to Concrete and Op-Art and instead offers a captivating visual experience that aims at a continuous movement and confronts the spectator with a constant ambiguity: there is no defined top or bottom, no left or right but a collection of stripes that point beyond the surface and evoke a fascinating limitlessness. Interestingly, Fruhtrunk’s last works introduced a previously unknown degree of individuality through visible brushstrokes and a distinctive roughness.

The retrospective is accompanied by a bilingual and comprehensively illustrated catalogue, published by Wienand Verlag and edited by Stephan Berg and Jörg Daur, that provides additional insights into Fruhtrunk’s work by means of three essays. Two of them address the genesis and development of Fruhtrunk’s art and the meaning of repetition in his work but the third also goes beyond the exhibition: in his essay Jörg Daur sheds light on Fruhtrunk’s art in architecture, e.g. the Quiet Room at the UN headquarters in New York done in collaboration with Paolo Nestler, a nod to the artist‘s earlier architecture studies.

The centenary retrospective and the catalogue offer a profound and intriguing overview of Fruhtrunk‘s singular oeuvre that is way more complex than it might seem at first sight.

Andy Gilmore

Pollen from Pine - Wolfgang Laib