Art Now

Art Now' shows a new work from the EUR art collection every two weeks. Art Now, digitally on the screen, for inspiration, as consolation, imagination, reflection or as a distraction and extender of reality.

Art Now 34: Hester Oerlemans

Hester Oerlemans – untitled - 49 x 37 x 15 cm. 2020

The thirty-fourth artwork in the Art Now series is an object by artist Hester Oerlemans (1961). It is part of Oerlemans’ solo exhibition 'Desiderius', which is on display at the Erasmus Gallery until 29 October 2021. Oerlemans works are interventions on everyday reality. In a playfully poetic but also critical way, Oerlemans shows her perception of the world. The viewer is taken along in her visual language and more than once surprised by the serious layering of the work and the great diversity in the material used. In drawings, objects, and installations, Oerlemans work unfolds to its essence. The result is an exciting play between recognition and estrangement.

Art Now 33: Stan Klamer

Stan Klamer ZT, 2014, drawing on paper - image 57x76cm - Art Collection EUR

The thirty-third artwork in the Art Now series is a 2014 drawing by artist Stan Klamer (1951). In Klamer's drawings, reality is abstracted into a form of cartography. The artist creates imaginative space in which two age-old contrasts are distinguished, those of nature and culture. Nature becomes visible in the amorphous directionless behaviour of patches of watercolour, which often form the start of a drawing. Culture shows itself in the use of the pencil on paper, with which Klamer records the layout of the landscape and the movements of people. In his flat worlds, Klamer makes large areas visible at a glance. This leads the viewer to the details that have been worked out to perfection. He himself sees the making of the drawing as a journey, an action in time. He invites the viewer to take the time to make their own journey, long or short, through his drawings. The drawings of Stan Klamer can be seen at various workplaces in the Sanders and Mandeville building on campus Woudestein.

Art Now 32: Henk Visch

Henk Visch untitled, 1999, lithografie

The thirty-second work in the Art Now series is an untitled lithograph by the successful and versatile artist Henk Visch (Eindhoven, 1950). Visch is a graphic artist, draughtsman, and sculptor. He represented the Netherlands at the Venice Biennale in 1988, after which he received the art prize of the city of Darmstadt in 1991 and was invited to participate in Documenta IX in Kassel. Many of his sculptures can be seen in the Dutch landscape, such as the 1992 work ‘Kameel en begeleider’, which adorns the roof of the Kunsthal in Rotterdam. Between 1996 and 2011, he made a drawing every Monday for the column Mirza in the Volkskrant. The lithograph shown here also dates from this period.

Art Now 31: Dan Graham

Dan Graham ‘‘Row of Tract Houses, Bayonne, New Jersey,’ 1966, photolithography, Image size, 24.3 × 31.3 cm.  Art Collection EUR

The thirty-first artwork in the Art Now series is the 1966 photolithograph 'Row of Tract Houses, Bayonne, New Jersey,’ by artist Dan Graham (1942). Graham is regarded as an innovative and influential artist who has been at the forefront of many developments in contemporary art, including conceptual art, video and film installation, and performance art. His fascination with the economic and social framework of art and culture is visible in his works and often placed in a public context. Graham grew up in the suburbs of New Jersey, which has continued to inspire him throughout his career. Averse to the pretensions of modern art, he founded the John Daniels Gallery in New York in 1964, where he exhibited the work of a new generation of conceptual and minimalist artists, including Donald Judd, Sol LeWitt and Robert Smithson. The versatile artist also wrote rock music, was an author, art and architecture critic and worked for various architects and artists. Graham: 'We all wanted to do everything. This was the milieu of the 1960s in New York.’

Art Now 30: Richard Hamilton

Richard Hamilton ‘A portrait of the artist by Francis Bacon’, 1971, collotype and screenprint, Image size, 54,8 x 49,5 cm. - Art Collection EUR

The thirtieth artwork in the Art Now series is a screenprint by artist Richard Hamilton (1922-2011) entitled 'A portrait of the artist by Francis Bacon.' This artwork originated in 1969; Hamilton asked artist Francis Bacon (1909-1992) to photograph him at a lunch where the wine flowed freely. The location was the London restaurant of Robert Carrier. Bacon photographed Hamilton with a Polaroid camera with the dining room curtains in the background. Because Bacon was intoxicated, the Polaroid shot failed, resulting in a blurred portrait. However, Hamilton found that the image strongly resembled Bacon's specific painting style and used the image as inspiration for 'A portrait of the artist by Francis Bacon.' Hamilton used that portrait to make seven studies of oil on collotype copies. He then had Bacon choose a favorite. This became the seventh study in which Hamilton had covered the hazy curtains with a violet color that Bacon often used. An edition of 140 silkscreens of this artwork was made. Number 53 was purchased for the EUR Art Collection in 1978.

Art Now 29: Richard Allen

Richard Allen ' Rotacircle II', 1978 – silkscreen, dim. 70 x 70 cm. - Art Collection EUR

The twenty-ninth artwork in the Art Now series is a silkscreen by artist Richard Allen (1933-1999). Allen was born in Worcester. In the artist's early work, his interest in constructivism is visible. The artworks are all composed of geometric figures that are repeatedly divided and rearranged in endless variations. They convey a strong sense of spiritual purity, attract, and make us stare. Allen stated that he had never worked from the idea that there should be a beautiful end result. If there was any so-called beauty in a work of art, he considered it more of a by-product. According to Allen, his artworks required no external approval or recognition. In the mid-1970s, the promising artist left to live on an island in the English Channel. There he worked on his oeuvre. Although he was a known artist during his lifetime, the extent and importance of his work only became apparent after his death in 1999.

Art Now 28: Katrin Korfmann

Katrin Korfmann 'Kornati', 2019 - piezo print in frame dim. 65 x 45 cm. - Art Collection EUR

The twenty-eighth artwork in the Art Now series is the 2019 piezo print 'Kornati' by Heidelberg-born artist Katrin Korfmann (1971). Korfmann's work is created all over the world. Usually in public locations where people pass each other. Over a more extended period, she takes several photos in one place, always from the same height and viewpoint. Sometimes there are 500, other times there are more than 2000. Images are merged until one photo appears that is somewhat out of place. The people in it do not seem to relate to each other. About 'Kornati,' Korfmann says: ‘I was with my family this summer (2019) on the 'uninhabited island' in Croatia with the phenomenal Adriatic Sea. We have been here before; you only get there by boat. There are no shops and no roads, no electricity and gas - to build is not allowed because it is a nature reserve, so there are only a few old fishermen's cottages. Our house is 3 m from the sea, with its clear turquoise water. It is so clear it almost looks like a swimming pool, but you can see the dark green stones on the ground if you look closely. This sea is exceptional, and it immediately makes you realize how beautiful and vulnerable our earth is.’

Art Now 27: Bridgette Riley

Bridget Riley – Untitled, 1978 - Art Collection EUR

The twenty-seventh work in the Art Now series is by the grand old lady of British painting Bridget Riley (1931). She is seen as one of the most important representatives of the art movement op-art, which is an abbreviation of optical art; a movement based on various optical illusions. Riley's first solo exhibition was already held in 1962 in a renowned London gallery. During her six-decade career, she has always sought to go into new depths, sometimes going back to earlier works of art. About her artworks, she says: "I am sometimes asked 'What is your purpose' and I cannot answer this truthfully. I work 'from' something rather than 'to' something. It is a process of discovery. " By placing contrasting color fields or lines next to each other, Riley creates a sensation of light and energy. Using only geometric figures and (color)contrasts, her works of art create a strong illusion of motion, depending on the angle from which one is looking. Works by Riley can be found in many renowned art collections, including those of the Museum of Modern Art (MoMA) and the Tate Modern.

This untitled op-art artwork from 1978 was purchased for the EUR Art Collection in 1986 and has been displayed at various EUR locations.

Art Now 26: Maura Biava

Maura Biava – Through Dimensions, 2018 – c-print (framed), 40 x 53 cm - Art Collection EUR

The twenty-sixth artwork in the Art Now series is a c-print by artist Maura Biava (1970). Biava is internationally known for her pioneering work in the field of poetic underwater photography. In her impressive photo and video works, the artist is depicted as a floating detached presence in a deep blue space. She started making her underwater work during her studies in the 1990s, and since then she has regarded the underwater world as a space to make her art, as if it were a studio or a gallery. She says the following about the creation of her work;

‘First, I make a drawing to envision how I wish my idea looks like. After that it is time to undertake my trip to the seaside. I look for the underwater location that fits my idea. This I do by diving. When I know where the work will take place, I go there with a diver, a photographer and the props and costumes I’ll need for the photo... Finally, when everything and everyone is ready, I dress, and I act. The diver brings me air every minute. The photo shoot takes about an hour…For me a work is finished when it works. Some of my works I had to make over and over again… Some of my best underwater works I had to remake so many times that it took a few years…’

Biava studied at the Brera Academy in Milan and the Rijksakademie in Amsterdam. The photograph shown here was taken in the Red Sea in Egypt in 2018, as part of a larger series of works and acquired for the EUR Art Collection in 2019.

Art Now 25: Patrice Pantin

Patrice Pantin - Z.T., 2015 - Acryl and incisions on paper 37.5 x 37.5 cm - Art collection EUR

The 25th artwork in the Art Now series was created in 2015 by French artist Patrice Pantin. Pantin's working process, which includes cutting, dripping, and burning, often appears to be messy and raw. However, the achieved result is surprisingly elegant and pure. In this particular work of art, we see several layers applied on top of each other; wafer-thin white acrylic on a background of ink on paper. The layers are revealed partly with great control and extreme precision, making the artwork look fragile and organic. The incisions in the paper appeal to the imagination and are reminiscent of the rituals of scarification, and tattoos. The artwork was acquired for the EUR Art Collection in 2015.

Art Now 24: Claes Oldenburg

Claes Oldenburg- ‘Flying Pizza’, 1964, Lithograph - 44 x 56 cm – EUR Art Collection

The Art Now series's twenty-fourth artwork is a lithograph by pop art artist Claes Oldenburg (b. 1929). Oldenburg was born in Sweden but moved to the United States at an early age. There he married the Dutch/American artist Coosje van Bruggen in 1977, with whom he worked extensively. Oldenburg is best known for his sculptures in public spaces of "enlarged" everyday objects such as a toothbrush, clothespin, screw, or shovel. Oldenburg either glorifies or ridicules these objects. The scale Oldenburg applies in his sculptures creates an alienating effect on the surroundings and the viewer. Consumer society is also regularly the subject of his work, such as his mega-sized hamburgers in a park, a gigantic ice cream cone on a building, and the 'Flying Pizza' shown here. It is one of the first artworks acquired for the university collection, but it looks as if it has just come flying in.

Art Now 23: Lieven Hendriks

Lieven Hendriks - ‘Yellow Sun’, 2019, acrylic on polyester canvas, diameter 30 cm - EUR Art Collection

The twenty-third artwork in the Art Now series is 2019's 'Yellow Sun' by artist Lieven Hendriks (1970). Like the previous artist in the Art Now series, Hendriks has a fascination with 'perception'. Hendriks studied at the HKU in Utrecht and continued his education at the post-academic institute De Ateliers in Amsterdam. There he laid the basis for his oeuvre. About its underlying rationale the artist says: 'It's about the bias of looking. About the relationship between what we see and what we think we see; how perception can change completely through context, experience, or knowledge. I am interested in the tipping of the gaze'. Everything in the work is important, including the use of color in all its nuances. Hendriks elaborates, in his own, modern way, on the Trompe l'oeil tradition, a painting technique that has been used by painters since the 17th century to suggest the presence of, for example, pillars or statues and thus to 'deceive the eye'.

Art Now 22: JCJ Vanderheyden

JCJ Vanderheyden – ‘Midnight Sun’, 1990 – silkscreen, 55 x 80 cm – EUR Art Collection

The Art Now series’ twenty-second artwork is a 1990 screenprint by artist JCJ Vanderheyden (1928-2012). We look along with him through the airplane window during one of his many trips to Nepal, China, and Japan. The trips inspired him and were the source for, among other things, his series of works with airplane windows, an essential chapter in his career of more than 50 years. Observation - looking - is one of the central themes in his art, as is the horizon we see from the airplane window. Vanderheyden's horizon is never straight; the perspective changes and is convex, vertical, or sloping. Vanderheyden always tried to capture the complexity of reality in a simple image. With his frames, grids, and mirrors, Vanderheyden repeatedly draws concentrated attention to boundaries, separation, and diffusion. At first, he did this as a painter, and from the mid-70s onward by using a variety of media such as photography, screens, graphics, film, photocopies, sound, and computer images.

Art Now 21: Rosemin Hendriks

Rosemin Hendriks – untitled, 1999 – silkscreen on 3mm plywood, 50 x 65 cm - Art Collection EUR

The Art Now series's twenty-first artwork is a silkscreen by artist Rosemin Hendriks (b. 1968). Hendriks mostly makes meticulously drawn portrait drawings, composed of clear lines in black, white, and gray. Only occasionally a little color is added to the work. Mostly these are self-portraits, which have been transformed into new, powerful characters in her specific and very recognizable manner. The works are not intended to be exact self-portraits, but are self-contained close-ups with various expressions and atmospheres. The work by Hendriks shown here arose from a commission. Gallery and production company PlaatsMaken invited ten artists to make an artwork, silkscreened on 3 mm thin airplane plywood. This explains the appearance of the airplane in this work of art.  Nonchalantly, a miniature Jumbo Jet is held between thumb and forefinger, apparently about to be launched, as if it were a paper plane.

Art Now 20: Marian Breedveld

Marian Breedveld ‘Windstil’, 2007 - silkscreen - Art Collection EUR

The twentieth artwork in the Art Now series is 'Windstil' from 2007 by artist Marian Breedveld, born in 1959 in The Hague. It is one of eight artworks by this artist that were acquired in the EUR Art Collection in 2007, all with the same title.

In the work of this artist, a fascinating new dimension of reality is created without depicting anything from reality. The works all have a spaciousness and radiate a warm atmosphere. Between 1995 and 1997, Breedveld used mainly earthy colors. These were created by the many-colored layers that she applied on top of each other. In the years that followed, she increasingly switched to pure, light, and bright colors. Over the years, the brushstroke became less central to her work as she shifted her focus more on color. Breedveld is interested in the differences between the colors, the nuances, and the many gradations, as clearly can be seen in this work of art.

 

Art Now 19: Celine van den Boorn

Celine van den Boorn - Near the European Border #7, digital print, 60 x 90 cm Art Collection EUR

The 19th artwork in the Art Now series is a digital print by Amsterdam-based Dutch visual artist Celine van den Boorn. She focuses on nature, culture, and (un)artificial order. Van den Boorn paints on press photographs and makes the people depicted in them, in the role of soldiers, tourists, or refugees, 'disappear' into the surrounding landscape. A new, more ideal reality seems to emerge through her intervention, but the missing subject remains tangible and subtly visible. The work is layered, in the image (what do we see), and technique (what is paint and what is the photo), and theme (how does the landscape relate to human presence). The motivation for this work, acquired in the EUR Art Collection in 2020, is news images of refugees' ongoing flow into Europe. In their search for a better and free life, people are stranded en masse in a muddy no-man 's-land at the European borders.

The artist herself about her work; 'Struck by the contrast in the photos between the desolation of the situation and the bleak landscape on the one hand, and the cheerful-looking brightly colored tents, luggage and clothing of the refugees on the other, I began to paint away from the original subject matter in the photos. The colorful spheres are unpainted "glimpses" into the original photograph. Through my working method, I hope to magnify the existing contrasts, both in form and content creating tension between hope and reality and movement and stagnation'.

Art Now 18: Peter Struycken

Peter Struycken, ‘untitled’, 1966 – silkscreen – 40 cm x 40 cm– Art Collection EUR

The 18th work of art in the series Art Now is a silkscreen by the Dutch artist Peter Struycken (1939). The artwork, which is credited to the art movement ''Post Painterly Abstraction'', was released in 1966 in a folder of eight silkscreens by the artist and was added to the Art Collection EUR a year later. The art works seem timeless. Struycken makes non-figurative art and uses various media for this purpose. He has been experimenting with computers since 1969. From then on, the computer has been an essential part of his research into portraying his penchant for structures. He is known for his works in public space in which light and color are often the main elements, as in his work of art 'Lichtarcade' at the New Institute (former NAi) in Rotterdam. The stamp of Queen Beatrix designed by him in 1981 is probably the work that most people have seen of him. It shows a large number of small dots that together form the image of the queen. For this stamp's design, he used a picture that Vincent Mentzel had made of the queen.

Art Now 17: Co Westerik

Co Westerik untitled, 1999 – Silkscreen, 40,5 x 46 cm - Art Collection EUR

The seventeenth work of art in the series Art Now is an untitled artwork by artist Co Westerik (1924-2018). This artwork from 1999 was purchased for the Art Collection EUR in 2005. Earlier his work 'De Kus' appeared on the screen. The in total, 22 of his works of art belonging to the Art Collection EUR are appreciated by many. The versatile artist has built up a rich and fascinating oeuvre characterized by zooming in and magnifying everyday life. Westerik often opts for a standpoint that brings the viewer uncomfortably close. In this work of art, we are looking at a reader sitting behind a table, perhaps a student...

Art Now 16: Gerco de Ruijter

Gerco de Ruijter, untitled, 2005 – Ultra-chrome print on dibond, 50 cm x 50 cm - Art collection EUR

The 16th work of art in the series Art Now is an untitled work from 2005 by Rotterdam based artist Gerco de Ruijter (1961). The artwork was purchased for the Art Collection EUR in 2006. Because of its serene white appearance, the impression can be raised that this is a winter landscape, but nothing could be further from the truth. The photograph is taken in Death Valley, New Mexico.

De Ruijter works with photography and film. In the late eighties, he started using kites, balloons, and fishing rods to capture images from unusual points of view. With his art, he investigates how far the presentation of landscape can be reduced and still remains recognizable as such. Since 2012 he is exploring Google Earth as a source, which has resulted in films like CROPS (2012) and Playground (2014).

Art Now 15: Lucebert

Lucebert, 'Etende Mensen’ 1969 - mural acrylic paint and oil stick on wooden plate, 300 x 600 cm - Art collection EUR: location corridor between Erasmus building and the C-hall on campus Woudestein

The 15th work of art in the series Art Now is the artwork 'Etende Mensen’ from 1969 by the Dutch poet and painter Lucebert (Lubertus Jacobus Swaanswijk 1924 - 1994). As a poet, Lucebert profoundly influenced the poetry of the 20th century, because of his play with the Dutch language - in order to escape the traditional grammar and obvious solutions.  As a result, he is seen as frontman of the 'Vijftigers'. As a painter Lucebert was very closely connected to the CoBrA movement: a group of artists who were convinced that art could only be made by truly free individuals. Lucebert’s body of work shows that he was indeed a truly free spirit. Both in his poetry and in his painting, the repeated rejection of fixed patterns can be seen. His paintings are often grotesque and confrontational and question the laws of beauty and harmony.

Etende Mensen’ (1969) was made by Lucebert on commission from the Erasmus University for the student canteen in the Tinbergen building. The painting is typical of CoBrA art, figurative expressionist in bright colors. A group of eating people is depicted by Lucebert in a humorous way. He attached a slate to the artwork, on which students could comment on the menu. After the renovation of the canteen, ‘Etende Mensen’ was moved to the current location, next to the Erasmus Gallery in the corridor between the Erasmus building and the C-hall Theil building on campus Woudestein.

Art Now 14: David Hockney

David Hockney, ‘Portrait of Kasmin (Figure by a Curtain)’, 1964 – colour lithograph, 50 x 64,5 cm - Art collection EUR.

The 14th artwork from the Art Now series is the 1964 artwork 'Portrait of Kasmin' (Figure by a Curtain) by British Pop Art artist David Hockney (1937). David Hockney is one of the most influential living artists of the moment. He is admired for the extraordinary technical quality of his artwork. Hockney is a pioneer. He creates his works of art in almost any medium from pencil to digital media and makes photo collages, opera staging, paintings and drawings, among other things. Hockney is known for the recognisability of his artworks in which he often records the moments and friendships in his life. This also applies to this work of art; a portrait of his good friend John Kasmin, the British art dealer and collector widely regarded as the person who launched Hockney's career. The special artwork was purchased in 1966 for the art collection of Erasmus University.

Art Now 13: Luuk Bode

Luuk Bode, 'stroke6', 2013 - mural, approximately 40 m x 1, 40 m - Art Collection EUR, location: bicycle cellar under the Theil building on the Woudestein campus.

The 13th artwork in the Art Now series is a mural entitled 'stroke6' by artist and designer Luuk Bode (1972). Bode makes autonomous work of his own accord and commissions, including drawings, paintings, and murals. His designs are used in dessins, interiors, and graphic work. His works of art in public space are always site-specific. Bode made 'stroke6' in 2013, commissioned by the Erasmus University, on location in the bicycle cellar under the Theil building on campus Woudestein. Bode says about 'stroke6': 'The bicycle cellar location is a space in between, in which the cyclist arrives at the campus, and is no longer outside, but not inside either. A quiet place between the end of the journey and the start of a work or study day. It is a moment when the bike ride through the city still hangs in the memory, and the impressions of the trip pass by the mind's eye and are lined up before entering the university'. Some EUR staff may be familiar with the name: since 2014, Luuk Bode has been working part-time on the EUR at Art Affairs.

Art Now 12: Erik Odijk

Erik Odijk, Lichen, 2012 – digital print, 162 x 234 cm – Art Collection EUR, location: Sanders building 5th floor, campus Woudestein.

The 12th work of art from the series Art Now is 'Lichen' by artist Erik Odijk. Odijk has a fascination with the primal force of nature. The artist mediates between the sublime (the grand, coarse, untidy) and the beautiful (the small, smooth, soft, and rich). Odijk’s works are meticulous observations. First comes looking into nature itself and documenting it with the camera. Followed again by looking, this time at the shot image. The photographic image can either be the end result, or it can be used as a motivator for work in the most diverse forms, such as (sometimes enormous) drawings, films, installations, or land art. 'Lichen' was previously shown during a solo exhibition of Odijk's work at the Erasmus Gallery on the Woudestein campus in 2016. The same year, it was purchased along with the drawing 'Autonomous rock,' 2012 (196 x 318 cm) for the Art Collection Erasmus University. Together, the two works form a diptych.

Art Now 11: Fiona Tan

Fiona Tan - Lift, 2000 – Full color silkscreen print, 108 x 64 cm, EUR Art Collection.

The 11th work of art in the series Art Now is 'Lift' from 2000 by Fiona Tan. In  'Lift'  the artist is seen ascending a few meters into the air, hanging from a pair of red helium-filled balloons. Tan, who lives and works in Amsterdam, is known worldwide for her film and video installations. With the performance 'Lift' in 2000, Tan used her body as 'a moving image' of which the weight is denied. The silkscreen print shown here is a 'still' of that performance. Below, roofs of a few buildings can be seen, through which the location can be identified: the Sarphatipark in Amsterdam. The artwork belongs to the Erasmus University's art collection and was temporarily on loan to the Singer Laren Museum in 2018-2019. There it was on display during the exhibition 'Out of Office', Art treasures from companies.

Art Now 10: Willem Oorebeek

Willem Oorebeek, Ogenblikken, 2015 - black composite panel and an aluminium sandwich panel (270 panels on commission) EUR art collection, spanning all floors of Polak building at campus Woudestein.

The 10th work of art from the series Art Now is 'Ogenblikken' by Willem Oorebeek. Some works of art are immediately identifiable as such; others blend into their surroundings and are not that easily recognized as art. The latter demands more attention of the viewer, and this certainly applies to 'Ogenblikken.' The work of art was commissioned by Erasmus University for the multifunctional education building Polak. It was realized in 2015 and consists of two vertical fields that cut through the building along the back walls, and continue over all floors. The vertical fields consist of a mirroring underlay, reflecting all rooms over the entire floor through holes in the structure in front of it. Because the mirrors are fixed in a rotated angle, the reflective space is always experienced differently. The fact that these 'mirror walls' together form a work of art may surprise the visitors and the many students who spend their days in the Polak building. And the fact that their own presence and movements in the building make them temporarily part of the artwork, might too. The best viewpoint to experience the entire artwork is from the opposite staircase on the top floor. Highly recommended!

Art Now 9: Henk Huig

The 9th work of art in the series Art Now is ‘De identiteitscrisis van Tielse Flip’ from 1967 by Henk Huig (1934, Amsterdam). Huig was educated at the arts and crafts school in the early fifties and then travelled to Turkey and Iran. He became a graphic artist and painter and was often photographed himself with his work due to his striking posture as a bodybuilder. In the fifties he worked as a graphic artist, traditionally realistic, a bit tame. That changed when he started painting in the early sixties, in a quiet tone and clear division of surfaces, with nature as theme. From an Expressionistic grounded, lyrical-graphic style he switched via gouaches to collages to a New Realist painting in which a certain pop-surrealism struck. For this he was awarded the Amsterdamse Havenprijs in 1967 and the Koninklijke Subsidie voor de Schilderkunst in 1968. Humour, wordplay and references to Pop Art return in his work with which he wants to portray the modern man of his time. Absurdist comics', is the headline of a newspaper at the time. These characteristics are clearly reflected in the work in EUR that must have been made during those heydays. Working with patterns and emptiness, flat and 3D, his paintings become powerful semi-pop-like compositions, reminiscent of Zekveld's pop art. The work must be from 1968 or before: at the end of 1968 the art committee of the EUR decided to accept the loan from architect Dunnebier. He bought the painting, had no room for it, and gave it on loan to the NEH for five years, after which the EUR purchased it in 1997.

Text - Sandra Smets (from art historical description of highlights art route EUR).

Art Now 8: Niki de Saint Phalle

Niki de Saint Phalle - ZT, 1970 - Silkscreen from the portfolio 'Nana Power', 80 x 60 cm - Art collection EUR, recently restored.

The 8th work of art in the Art Now series is a screen print from 1970, without title, by the French-American artist Niki de Saint Phalle (1930 - 2002). The Saint Phalle, world famous and known for her 'Nana' figures, learned to paint herself in order to escape the bourgeois environment in which she was born. In the middle of the sixties she presented for the first time her version of the archetypical woman, the 'Nana' with which she focused on the role of women in society. With her expressive man-sized polyester female images painted in bright colors, she caused commotion in the art world. She presented the Nana's as happy, liberated women, and forerunners of a new matriarchal era.

Art Now 7: Marijn van Kreij

Marijn van Kreij, ZT, (Picasso, The Studio, 1956, The Palm at the End of the Mind, Erasmus University Rotterdam), 2017 hand-painted porcelain tiles, total dim. 285 x 1500 cm - Art collection EUR painted together with students and staff of Erasmus University Rotterdam.

Artist Marijn van Kreij created a unique work of art for the renovated University Library of the Erasmus University Rotterdam. In 2017, the Erasmus University students and staff were invited to come to the Erasmus Gallery and paint a tile after an example selected by the artist. The example was based on a fragment from a painting by Picasso from 1956, entitled 'The Studio.' Marijn van Kreij: 'The personal handwriting and the differences within the repetition are important in the artwork.' In two weeks, almost 1000 tiles on A4 format (21 x 29.7 cm) were painted. Van Kreij then selected the tiles for the final composition. Together they form the artwork of 285 x 1500 cm installed near the new first-floor entrance of the University Library location Institutenlaan campus Woudestein.

Art Now 6: Co Westerik

Co Westerik ‘De Kus’, 2003 – Etching on scooped paper, 27 x 22 cm - Art Collection EUR

The sixth work of art in the series Art Now is 'De Kus' by artist Co Westerik (1924-2018). The work from 2003 became part of the Art Collection EUR through a private gift in 2016. It is not the first or only work of art by this multi-talented artist in the university collection.  As early as 1971, a work by his hand was purchased as the first of a total of 22 works of art in the Art Collection EUR today. Co Westerik painted, drew, etched and photographed the ordinary from the amazement he felt for it. The multi-talented artist has consistently built up a rich and fascinating oeuvre in which he magnifies everyday life by zooming in on it. Westerik's often chooses a point of view that brings the public uncomfortably close to everyday experiences.

Art Now 5: Rob Leenders

Rob Leenders ‘Windscherm 1’, 1979 - Zeefdruk, afbeelding 32 x 46 cm (lijst 60 x 80 cm) - Kunstcollectie EUR

The fifth work of art in the Art Now series is 'Windscherm 1' from 1979 by Rotterdam-born artist Rob Leenders (1956). As can already be derived from the title, this work of art is about a windshield. We see it standing upright at a sandy beach, as we look past it towards a calm sea and an everlasting blue sky. The water seems to ripple up the beach quietly, and in the tranquil moment, nothing seems to indicate that a windshield is necessary. The layered image invites us to wonder what is behind the shield and let our gaze drift into the distance, as if in memory of a pleasant holiday.

‘Windscherm 1' was purchased for the EUR Art Collection in 1981 with four other screen prints from the same artist and with the same theme. Since then, the screen prints have been offered in the EUR 'art on loan' program. Due to their popularity among the EUR-employees, the works of art have been requested for many EUR workplace locations over the years.

Art Now 4: Thomas Trum

Thomas Trum ‘One Green Line’, 2019 - Acrylics and glyserine on canvas, 190 x 250 cm - Art Collection EUR

The fourth artwork from the Art Now series is 'One Green Line' from 2019 by artist Thomas Trum (1989). This large-scale work of art was purchased in 2019 for the art collection EUR and is placed in lecture hall CB-05 in Theil building on campus Woudestein.

Central to the work of Trum is research. Time and again, this artist explores the material, the way of applying it, and the carrier itself. As an instrument, Trum uses, among other things, enormous self-designed felt-tip pens, a machine for marking traffic lanes, and brushes on a drilling machine. A constant factor in his work is paint, whether it concerns his small-scale drawings or his colorful, large-scale works in public space. His work is often based on trial-and-error in which the directness of the action in the creation process is an essential part of the extraordinary result.

Art Now 3: Anouk Griffioen

Anouk Griffioen ‘Museum of Nature 3’, 2018 - Charcoal on linen, 210 x 332 cm - Art Collection EUR

The third work of art in the series Art Now is 'Museum of Nature 3' from 2018 by artist Anouk Griffioen (1979). The monumental charcoal drawings by this artist bring together different landscapes and subjects. Griffioen creates a world into which the viewer can easily disappear. In her art, she addresses the conflict between man and nature, city and landscape and the ever-expanding growth of the cities that compromises the quality of life. By bringing vegetation back into the cultivated environment, Griffioen appeals to our deep-rooted longing for nature. A place to leave the beaten track and come to new insights. Sporadically, a human shape seems to dissolve into the background. However, the figures never become explicit. About that she herself says; 'A figure often creates a barrier between the picture and the viewer, who becomes a voyeur, standing outside. Instead, I want the viewer to be the figure.' How wonderful is that, figuring in the monumental work of art by Anouk Griffioen. Even if only for a moment and in our own thoughts when we enjoy 'Museum of Nature 3'. In 2018 Griffioen set up a wall-to-wall exhibition in the Erasmus Gallery on the Woudestein campus. There she worked on the spot for three months on new drawings.

‘Museum of Nature 3'  by Anouk Griffioen is located in lecture hall CB-1 in Theil building on campus Woudestein.

Art Now 2: Anuli Croon

Anuli Croon 'Penthouse I', 2015 - acrylic + metallic acrylic on canvas, 170x250 cm - Art Collection EUR

The second work of art in the series Art Now is 'Penthouse I' from 2015 by Rotterdam based artist Anuli Croon (1964). The artwork was purchased in 2019 in the Art Collection EUR. What Croon says about her work:

My figures are stylized, mutually different, and individual-like by their poses, hands, and noses. They are prominent and indifferent, man and woman at the same time. They do not tell a story, do not explain themselves, and do not carry emotions. The paintings thus become autonomous constructions that are open to multiple interpretations. 'Penthouse I,' which now hangs in the Erasmus University boardroom, is based on the reclining figure, a common theme in the history of the visual arts. The character is in the middle of lying, falling, or leaning back. The background looks like the skyline of a big city'.

As Croon herself points out, the figure in Penthouse I is reminiscent of the classic reclining figure. With displaying the figure in this way, the artist follows a long tradition. But just as well, the artwork refers to cartoonlike figures and contemporary advertising with pattern-like elaborations, which places the artwork right in the here and now. Seemingly emotionless, the large reclining figure in Penthouse I looks at the city from a higher point of view, withdrawn as if she belongs there, only not right now...

Penthouse I' by artist Anuli Croon hangs on location in the Boardroom on campus Woudestein.

Art Now 1: Stan Klamer

Stan Klamer 'South China Sea', 2014 - mixed media on paper, 50 x 65 cm - Art collection EUR

The first work of art from the series Art Now is the 'South China Sea' from 2014 by artist Stan Klamer (1951). In the drawing, which Klamer made during a period of study in Southeast Asia, he 'mapped' what he saw there. Yet it is not a one on one observation he has depicted in the work of art. Time and again, he photographed the harbor from different points of view. The pictures inspired him to make the drawing in which we also discover rectangles. These small telephone screen size rectangles are silent references to the way the work originated. In Klamer's flat worlds, the abstracted reality is made into cartography, and large areas are made visible in one instance. In a second glance, the viewer is taken into the refined details. Klamer creates unique places, islands, and harbors from which we can depart, or where we can come 'home' again. And that is precisely what Stan Klamer's drawings do, they invite us, without moving, to make a personal journey.

Stan Klamer's drawings can be seen at various workplaces in Sanders and Mandeville building on campus Woudestein.

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