U P C O M I N G   2013:

Lrsa-bo  Jandrup,  June 2013

There will be a dual celebration - an exhibition of William Anthony's paintings and drawings and a book of Anthony's work, also titled IRONIC ICONS. The book has been authored by Sam Jedig. It will be presented to the public for the first time at this event.

Anthony relentlessly lampoons everything from the insanities of war to the lunacy of the art world to the joys and woes of love. Anthony tells us that his style derives from the terrible drawing mistakes of his least talented students. The New York Times tells us that Anthony is "hilarious"  as well as "profound",  and that he has achieved the status of a "cult figure".



Title: MATISSE GIRL
Published 20.3.2013
Edition 4200
Size 30x39mm

View all William Anthony Artstamp

Artstamp.dk is proudly to annonce five Artstamps by Janet Passehl

In thinking about creating Artstamps, I first thought about postal stamps on letters flying through the sky above continents and oceans – envelopes bearing business papers, contracts, demands, requests, advertising or personal news.  While a piece of mail commonly uses language as a system constructed by human beings to convey information, an agreed upon means to an end, the Artstamp riding on its back can be a tiny missive from the more flexible and nuanced world of the poet-artist. Each of my Artstamps opens a small space that is larger than sky, because it is the space of possibility and imagination.

To create the stamps, I photographed fragments of my printed poems, pulling words, space and punctuation away from context. Children is extracted from the poem Brahmakamal, which was published in the journal Caliban Issue #7, p. 24. The entire poem can be seen at http://www.calibanonline.com/07/index.html

The other Artstamp texts are from poems in progress.

Janet Passehl 2012

Publishing day, October 25^th 2012

Edition each. 125

View all:






TORBEN EBBESEN

Torben Ebbesen’s work contains frequent allusions to mythology and religion without for that reason representing ”literal” translation into the present of themes handed down to us by ancient civilisations.
What he prefers to do is to paraphrase certain motifs of mythical thinking, triad and trinity or the reference to water as life-giving element, a constantly recurring theme in Nordic mythology, These paraphrases are them selves part of an overarching conceptions which does not however become immediately apparent.







Publishing day, September 20th,  2012


Edition each: 750
size 52x39mm and 39x52 mm




THOMAS BANG

TOPOGRAPHICAL REFLECTIONS
 

The lozenge shape, which is dominant in the drawings, “Topographical reflections”, appearing on the stamps, emerged initially in Thomas Bang’s drawings from the mid-sixties. Since that time the lozenge image has occasionally re-appeared, primarily in sculpture- and installation contexts and generating various references.

As a result of one of Bang’s recent interests: Egyptian Funerary Portraits from the Roman Period, this image once again crops up in his work. The entire shape of these portrait paintings is roughly that of a lozenge. Bang’s interest focuses on the appearance of the realistic painting style of the mummy portraits (1st and 2nd century AD) as entirely isolated and incongruous images forced upon the context of images of a long standing Egyptian burial tradition.

This severe disruption of context and the near disintegration of image over time which many of the portraits suffered, served as the initial point of departure for this series of drawings appearing on the stamps. The conditions of incongruity and breakdown of image found in these portraits relate to Thomas Bang’s long standing interest in contexts of a provisional and fragile nature.

The distribution of components in the drawings relates to the location and activity of elements in the installation entitled “Seven attempts to create adequate apparatus for ordinary families. Attempt No. 1”, 2008, which is in the collection of Statens Museum for Kunst, Copenhagen.

 

Title: Topographical Reflections

Publishing day, March 15.th  2012

Edition each: 300

View More:



 

WILLIAM ANTHONY

ON  ARTSTAMP. DK GUEST




Artstamp.dk is proudly to announce eight new Artstamps.dk by the New York-based artist William Anthony (b.1934)

For more than 45 years William Anthony has twisted and turned the conventions, clichés of and preconceptions about the world of images. It is clearly seen through iconography that it is pop. But it is also sub - Pop Art subconscious. A machine which displaces and distorts images.

New York Times describes Anthony as “A cult figure” and his work as “hilarious and profound”.
Quotes “I can’t wait for the New Testament. His is the first Bible I could Understand”  Andy Warholl for Anthony´s 1978 book BIBLE STORIES.
And from Laurie Anderson “…delightfully satiric drawings… a precocious enfant terrible…”

His work is today in the Collection of Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum, Art Institute of Chicago , Ludwig Museum among others.

Over the last two decades, William Anthony has exhibited several times in Denmark through Stalke Gallery and since 2008 also produced art stamps
through Artstamp.dk.

William Anthony has titled his new Art stamps as Miss  Lichtenstein Smiles Through Her Tears, Picasso Couple, Baby Doll, Very Small  Unidentified Non-Flying Object, A Friendly Face and simply Soup.



Publishing day December 6.th 2011

PUBLISHED 6.12.2011
SIZE 32X24 MM - 39X30 MM - 30X39 MM  AND 53X37MM

G36A    A FRIENDLY FACE                      ED         2200
G36B    MANUAL MANIFESTO              ED         2200
G36C    ARTIST WITH BERET                 ED         2200
G36D    VERY SMALL UNIDENTIFIED
             NON-FLYING OBJECT                ED         1260
G36E    MISS LICHTENSTEIN SMILES THROUGH
             HER TEARS                                 ED         3150
G36EB            “                                        ED         1260    NO PERFORATION
G36F    PICASSO COUPLE                      ED         1470
G36FB    PICASSO COUPLE                    ED           840    NO PERFORATION
G36G    BABY DOLL                                ED         1260
G36H    SOUP                                          ED         1250
G36HB    SOUP                                       ED           750    NO PERFORATION
G36HZ    SOUP                                        ED         1000    COLOR VARIATION

View more


 

SEBASTIAN QUEDENBAUM

Little History of Economy”, 2011.  3 plates with glace

A.     A.H.

B.     J.S.

         C.      S.Q.

”There's not enough for everybody”

”Everybody or nobody”

”If there's not enough for you, it's your fault”

Edition 700

Published 17.11 2011

---------------------------------

SMIKE KÄSZNER

When death pays us a visit – that is the theme of Smike Käszner’s stamps. They are selected from a series of 10 drawings (ink/watercolour), inspired by Holbein the younger’s Death of Dance series. Hence the titles of these four stamps; Der Tod besucht den Künstler, Der Tod besucht den Einsamer, Der Tod  besucht den Gläubiger and Der Tod besucht die Hoffnung.

A reoccurring theme in Smike’s work is that of memento mori. Remember time is limited. And the only way to get more time is at the expense of space. In Smike’s mind time can be expanded if space is limited and vice versa. How much experiences can be put into a life – while still keeping a balance between time and space?

In this context Smike views himself more as an explorer rather than as an inventor. The role of the artist here is to map unknown territories and thereby witness and document alternative ways to fulfill the role of a contemporary human. How do we come yet closer to the question, of what we at the end of the day will regret we didn’t do?

Smike fans out his questions to involve events, graphic work, paintings, writing and video – the latter for example in the work done together with video artist Jan Krogsgaard, where the work consisted of 101 interviews with very old people, answering just one question: What here in life did you regret the most that you didn’t do?

HELGI  THORGILS FRIDJONSSON

Published 22.9.201

FRITHIOFF JOHANSEN

Aknowledging, as he does, his debt to the age-old traditions of art, Frithioff Johansen still works with the classic materials used in painting, sculpture and graphic art. His own inherent curiosity has, nonetheless, taken him a long way, in terms of trying out new  forms of impressions. Science and technology have provided one of the main sources of his inspiration for his work for many years.
Johansen has won international renown for his work with lasers and holograms. His magnum opus to date is probably the laser sculpture "Chaos Temple" which has become something of a symbol for the town of Holstebro. Other major works include the tower sculpture "Sfirot" in the town hall square in Billund,  "A Kind of Entropy" at the Flakkebjerg Research Institute, "The Virtual 'A'" in Kolding and the light sculpture "VD" in Skanderborg.  All these works include moderne technological tools such as computer work, lasers, holograms, fibre optics and LED light.

This stamp is inspired by recursivity. In a Dutch university's mathematical class you may be entertained by the metaphorical concept "The Droste effect". It refers to cocoa packing with a picture of a nurse with a tray with a cocoa packing with a nurse etc. In Denmark we are tought  "The Ota Solgryn effect"  by former professor Flemming Topsoe , who used an old oatmeal packing showing a running boy carrying an oatmeal packing with a picture of a boy etc. Have a look at: http://www.frit-johan.dk/ota_movie.html

Well - here we have a stamp with a picture of a stamp with a picture of … etc.


Edition 1250
Publishing day 1.9.2011




Thomas Wolsing

Thomas Wolsing graduated from the Jutland Art Academy and The Royal Danish Academy of Fine Arts in Copenhagen 1999. He lives in a remote part of North Jutland in Denmark and has moved to this area after living in Copenhagen for many years. His work includes installation, textiles and photography.


This artstamp depicts a large needlepoint or cross stitch picture of an old mill placed in a small village near the Northwestern coast of Jutland, in which the artist lives. The mill accidentally burned down and a needlepoint pattern was designed by the artist. Hereafter a woman from the area stitched a large picture before the traces of burnt pieces of wood was removed. Hereby Wolsing raises this burnt down mill to a kind of “Monument”.



This cross stitch picture is a part of a larger project named  MONUMENTS ON THE MARGIN shown at Skive Art Museum.



Rasmus Vestergaard, Art historian, writes about the project:

Based on digital photographs of old, dilapidated houses in North Jutland, the Danish artist Thomas Wolsing has created a series of embroidered pictorial works. Digital photos are computer manipulated and transformed into pattern paper and then declared to be hand-made old-fashioned needlepoint or cross stitch pictures.

Today, the cross stitch pictures only recycled lined entries and at home in elderly people - but we all know cross stitch pictures traditional rural idyll. Motifs depicting the pond, half-timbered house, old grandfather, the hens who roam freely between the houses. These silent, stylized and kitschy images documenting a bygone era of embroideries had a specific function as craft for women and media for rural people's self-understanding.

By turning the world upside down the motif revives Thomas Wolsing in MONUMENTS ON THE MARGIN embroidery as an artistic medium. The embroidered pictures depicting dilapidated houses.The houses which no one will own or have. The dilapidated monuments as time image resembling a Denmark in transition, on a growing polarization between city and country.

MONUMENTS ON THE MARGIN challenge our understanding of the cultural landscape - how we inhabit it, what is our mental image of "country" and how to take the "country" is actually out today. The specific subjects are all from North Jutland, where Wolsing live. And, the empty and dilapidated properties sculptural sadness is transformed into hand-stitched embroidery of women living in very northern Jutland.

More info: www.skivekunstmuseum.dk (online catalogue); www.thomaswolsing.dk



Edition 1428

Published 21.6.2010








 

Thorgej Steen Hansen

Thorgej Steen Hansen lives and works in Copenhagen, Denmark. He graduated from The Royal Danish Academy of Fine Arts in 2004 and has shown his work in both Denmark and abroad.

The two stamp series (Untitled / standard form) Thorgej Steen Hansen have done for Artstamp.dk – Guest is the latest manifestation of an ongoing series of works in which he stages the same pattern, the same standard form, in multiple ways.

The standard form is produced and presented in various sizes, materials, and medias:

The standard form can be shown as a single unit in the form of a drawing or a painting - or in some other form - but most often, as it is the case with the artstamps in question, it is presented in various series of different color combinations.

The standard form is also used as building blocks in more elaborated installations. And as split seconds of stills in continuous flows of ever changing color combinations in short animated films shown in loops.

The standard form was designed for the first time in 2007 as an element to be used among others in a large decoration assignment which Thorgej Steen Hansen completed together with the artist group Zedamator for the Rhythmic Music Conservatory in Copenhagen in 2008.

The standard form has since then been used by Thorgej as a significant part in both solo and group shows.

Series G30A (1-42) edition each 101

and

G30B  edition 2550

Mogens Otto Nielsen

Mogens Otto Nielsen represents the generation of Danish concept artists who since the early 1960s has made its mark in the international experimental avant-garde.
His special characteristic is his involvement in the global mail art genre.

Mogens Otto Nielsen  entire repertoire is enormous and unique. also video, and land art projects have been under development since, most recently in the workshop "ATMOSPHERE CONTROLLED".
Mogens Otto Nielsen have also arranged several Mail Art events

Mogens Otto Nielsen recently held an exhibition at the
Kunsthal North
(Retrospective)


Title: ATMOSPHERE CONTROLLED
Published 5.4.2011
Edition: 1000















Berit Heggenhougen -Jensen

HAIR-EAR PROTEST: I HAVE THE RIGHT TO BE AN A STRANGER

Grow your hair! Stay in bed! In 1969, Yoko Ono and John Lennon converted their wedding into a Hair-Peace and Bed-Peace protest, which took place in a double bed at the Hilton Hotel in Amsterdam, where they stayed for a week.

Their actions were partly a protest against the war in Vietnam, and partly a demonstration for peace and love: stay in bed instead of going to war!

Grow your hair-ears! I reiterate, in a way, in my remix drawings: HAIR-EAR PROTEST.

Remix drawing because I revive a drawing that I made in 1993, shortly after I moved from Copenhagen, and continue working on it in 2010, in connection with the fact that I am moving again. But moving in another way this time. That is, I am moving from an imaginary place to another real linguistic place. I am relocating to a more linguistically pleasant place, and a place where there is room for the subject.

In these HAIR-EAR PROTEST drawings I direct my protest against both exclusion and cynicism. Protest against the distortion of history and the ways in which the subject becomes neglected; including the subject who is inscribed in the image.

Via the drawings I demonstrate in favour of a democratic society, something that can be taken for granted. The right to be a stranger in a democracy. A place where the human subject can also exist. And by the subject I mean the subconscious speech which is structured as a language. Subconscious speech which without doubt controls conscious speech, but without one ever realising it, in my experience.

Examples of historical distortions could be the following: if I claim that my drawings have balls. That the subject is not inscribed in the drawing. That the profiles in the drawings, subordinate to a copy scalpel, are constituted by Isabelle Adjani's nose; Beyoncé's temple, forehead and ear; Else Marie Bukdahl's ear hair; Elisabeth Roudinesco's lips and eyes; Mae West's chin; Nina Hagen's nape of the neck and eyebrow; Angelina Jolie's photogenic media profile; Lady Gaga's beauty spot; Mrs Smith's eyelashes; Gertrud Johannison's birth mark; Tina Turner's skin and breasts.

HAIR-EAR PROTEST:

A. Hair without bra.

B. Sullen armpit hair.

C. Hair above the lip.

D. Hair without bra.

Oil pastel, pencil, charcoal, crayon, condom, 7-inch record, paper bow, remote control & bicycle saddle, on handmade paper, ca. 72 x 102 cm, March 2010.

http://hair-ears-protest.blogspot.com/

Published 15.3.2010

BELLA ANGORA (AUT)

The fusion of emotion and intellect is the driving force behind my work. From my point of view the complemental term for ratio(nality) is emotio(nality) rather than irrationality. Instead of advocating the polarity of reason and irrationality I strive to strike a balance between the logical and psychological aspects of human life. In how far can this equilibrium between heart and mind change the way we life, influence our decisions, our perceptions, or even the word we life in? In a society where emotionality all too often bears the negative connotation of indecisiveness, the so-called ratio tends to dominate our feelings.
My works are mostly mixed media productions, in which I aim to incorporate all aspects of our perception. Within this field, music - as a primary source of emotions - is of enormous significance and goes hand in hand with my visual art. Especially within the framework of my art performances, a variety of media are mixed together in order to address the perception of the viewer in a variety of ways. My goal is to touch their hearts and minds likewise.
For me holding my own hands/fingers has become a powerful method for creating my personal balance between thinking and feeling and to enter a level of consciousness which comes close to my personal perception of life in general. I experience this kind of „holding myself“ very relish, even erotic and the quite sexual attribute of the drawings, that one can get at first glance, express this and relate to the fact, that „to twiddle one ´s thumb“ can be an erotic experience.....


Published 25.1.2011
Series of 5 stamps
Edition 400  each


View all:

_____________



IV TOSHAIN   (AUT)

Toshain’s work deals with the transition between interior and exterior worlds, the obscure interiority / exteriority of the  Subject / Object, the inseparability of the inside from the outside, the form from the content.

In the recent works (2010) the segments of visual communication condense. This fulfills a new functional level - visual functionality as a characteristic not of the body but of the mind.

A concept which also easily transforms into something different: structures, micro / macro networks, cages, crystals, machines, nature  – through hybridity, transformation, metamorphosis, mimesis, mimicry.

Iv Toshain lives and works in Austria.


Publishing day 25.1.2011
Series of 6 stamps
edition 420 each


View all:

__________


 

INVISIBLE EMPIRE

In ‘The Invisible Empire’ Jeannette Ehlers has worked with her father, Roy Clement Pollard, as narrator and
performer. Her father is from Trinidad, her mother Danish. By involving her own ethnic background she
magnifies reality to study the consequences of eroding information.
Ehlers` works thematically revolve around Danish slave trade in colonial times. With `The Invisible
Empire` she looks at today’s slave trade, also known as `human trafficking`. By introducing her father in
this context, she subtly intertwines her personal history with the narrative of the work. Her questioning
of historical ties and personal implications unfolds a strong pull on the viewer while raising awareness
for servitude in globalized societies.


Published  5.1.2011
edition 80

View all