Guido Geelen occupies a prominent place in the world of Dutch sculpture, with his free and idiosyncratic approach to working with ceramics, bronze and aluminum. During the 1980s, Geelen achieved a conceptual breakthrough by producing three-dimensional fired clay pieces that evoked both the traditional and modern. In the mid-90s he began working in bronze, and later aluminum, casting and assembling vacuum cleaners, urinals and other everyday objects, and later cows and pigs. The runners, which are normally destroyed after the casting process, were left intact, becoming an integral part of the sculpture itself and giving his work an organic and process-oriented touch. Guido Geelen provides a complete overview of Geelen's work, and his development as an artist, from 1986 to the present day.

Guido Geelen

Arts & Photography

Hefting, Paul

Bierens, Cornel

Geelen, Guido

Sassen, Jan-Hein

Individual Artists

nai010 publishers/Stedelijk Museum, Amsterdam

<p>The Stedelijk Museum opened its doors in 1895, the same year as the first Venice Biennale. It was a “quiet, civilized museum for the Amsterdam bourgeoisie in a time when there was nothing as troublesome as modern art.” Initially, the museum exhibited the legacy of the eccentric Sophia Augusta de Bruyn, Douairire Lopez Suasso: a heterogeneous collection of antiques, coins, jewels, timepieces, silver knickknacks, and other curiosa. Period rooms, from canal houses that had been demolished when Raadhuisstraat was driven through, helped create a presentable whole. The museum's renowned furniture collection was not begun until 1934, but since then it has grown to include more than 1000 objects from circa 1850 to the present, with an accent on the twentieth century. Chairs, settees, tables, folding screens, cabinets, and even complete interiors are included. This publication provides a comprehensive overview of the Stedelijk Museum's furniture collecting activities from 1934 to 2000. It charts the museum's rich collection, which includes work by H.P. Berlage, K.P.C de Bazel, Piet Kramer, Gerrit T. Rietveld, Martin Visser, Piet Hein Eek and Marcel Wanders, as well as international furniture classics designed by Michael Thonet, Charlotte Perriand, Ludwig Mies van der Rohe, Marcel Breuer, Joe Colombo, Arne Jacobsen, Ettore Sottsass, Philippe Starck and Ron Arad. Besides a complete overview of the furniture collection, this annotated catalogue includes an introduction to the history of the collection and its exhibition activities. In addition, the volume explores various themes, such as international and Dutch icons, and contrasts and evolutions, in greater depth in a number of short essays.</p>

The Furniture Collection: Stedelijk Museum Amsterdam: 1850-2000 From Michael Thonet to Marcel Wanders

Crafts, Hobbies & Home

Sottsass, Ettore

Antiques & Collectibles

<p>This publication focuses on the recent landscape paintings of the young Dutch architect Robert Zandvliet. These large-scale paintings rendered with broad brush strokes show the progression of his work toward abstractions that are the mere suggestion of landscape.</p>

Robert Zandvliet

History & Criticism

The Dutch born artist Karel Appel was unquestionably one of the most influential artists of the twentieth century, helping to define one of its chief features: "If I paint like a barbarian, it's because we live in a barbarous age," he once famously declared. This catalogue of an exhibition at the Stedelijk Museum shows that he was still going strong in the last decade of his life, presenting a selection of the artist's paintings, sculptures and works on paper from his final phase.

Pastorale Chiaroscuro

Gachnang, Johannes

Appel, Karel

Frémon, Jean

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Books by nai010 publishers/Stedelijk Museum, Amsterdam