The Latest

Light, space and time make us aware of what surrounds us. For JCJ Vanderheyden, this concept is at once both the starting point and the conclusion. 
JCJ Vanderheyden, L’Oeuf Rouge (1965) 
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 20, 2014 / 1 note

Light, space and time make us aware of what surrounds us. For JCJ Vanderheyden, this concept is at once both the starting point and the conclusion. 

JCJ Vanderheyden, L’Oeuf Rouge (1965) 

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

Imposing sizes, up-front subjects, savage colour fields and bold lines; these are the elements from which Bas Meerman constructs his paintings, lithographs and drawings. Meerman finds his inspiration in the tradition of predecessors like Edouard Manet (1832-1883), while at the same time feeling the urge to innovate. 
Bas Meerman, Sweet Dreams (1999)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 18, 2014 / 1 note

Imposing sizes, up-front subjects, savage colour fields and bold lines; these are the elements from which Bas Meerman constructs his paintings, lithographs and drawings. Meerman finds his inspiration in the tradition of predecessors like Edouard Manet (1832-1883), while at the same time feeling the urge to innovate. 

Bas Meerman, Sweet Dreams (1999)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

Van Lieshout earned international fame with a variety of polyester interiors that captured the interface between the visual arts, architecture and design. 
Joep van Lieshout, Study / Book Skull (1997)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 15, 2014

Van Lieshout earned international fame with a variety of polyester interiors that captured the interface between the visual arts, architecture and design. 

Joep van Lieshout, Study / Book Skull (1997)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

Julika Rudelius holds fact and fiction in the palm of her hand. She points her camera at everyday events all around us seemingly with abandon. After observing an event, like people meeting each other or having a conversation, she reconstructs it, asking her ‘role-players’ to play out that situation or talk about their motivations. Only then does she film them.
Julika Rudelius, Economisch Primaat (2005)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 13, 2014

Julika Rudelius holds fact and fiction in the palm of her hand. She points her camera at everyday events all around us seemingly with abandon. After observing an event, like people meeting each other or having a conversation, she reconstructs it, asking her ‘role-players’ to play out that situation or talk about their motivations. Only then does she film them.

Julika Rudelius, Economisch Primaat (2005)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

Things, thoughts, meanings and associations are the building blocks of the ever-expanding universe of Mark Manders. Since 1986, he has been working on Self-portrait as a building: an imaginary place to live, complete with map, in which he reveals his own inner world.
Mark Manders, Landscape after a painting by C.D. Friedrich (1996-1997)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 11, 2014 / 7 notes

Things, thoughts, meanings and associations are the building blocks of the ever-expanding universe of Mark Manders. Since 1986, he has been working on Self-portrait as a building: an imaginary place to live, complete with map, in which he reveals his own inner world.

Mark Manders, Landscape after a painting by C.D. Friedrich (1996-1997)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

After studying Photography and Audio/Visual Design at the Willem de Kooning Academy in Rotterdam, The Netherlands (1992), his main focus has been the Urban Landscape in it’s broadest sense. Over the years early influences of the New Topographics have evolved into a diverse oeuvre about the control of landscape, lack of space, infrastructural issues and the pressure on time and space in contemporary metropolises, reflecting our ways of communication and it’s speed.
Frank van der Salm, Intermezzo (2003) 
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 8, 2014 / 1 note

After studying Photography and Audio/Visual Design at the Willem de Kooning Academy in Rotterdam, The Netherlands (1992), his main focus has been the Urban Landscape in it’s broadest sense. Over the years early influences of the New Topographics have evolved into a diverse oeuvre about the control of landscape, lack of space, infrastructural issues and the pressure on time and space in contemporary metropolises, reflecting our ways of communication and it’s speed.

Frank van der Salm, Intermezzo (2003) 

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

“The things I paint are related visually, through their imagery, but also share associations. They represent something that implies life, or the promise of life. Being perishable, however, they do involve decay and danger as well. They have a limited ‘shelf life’; their beauty and usefulness will not outlast the average life expectancy of a person”.
Ina van Zyl, Big Toes (2005)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 6, 2014 / 2 notes

“The things I paint are related visually, through their imagery, but also share associations. They represent something that implies life, or the promise of life. Being perishable, however, they do involve decay and danger as well. They have a limited ‘shelf life’; their beauty and usefulness will not outlast the average life expectancy of a person”.

Ina van Zyl, Big Toes (2005)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

Alicia Framis infiltrates the monotony of life with provocative performances, films and photographs. In her projects, she lampoons the loneliness that limit Western man in their freedoms, which she attributes to lack of contact (physical and otherwise). 
Alicia Framis, Karen Park Goude, anti-dog Dress (2002)
All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection
Aug 4, 2014

Alicia Framis infiltrates the monotony of life with provocative performances, films and photographs. In her projects, she lampoons the loneliness that limit Western man in their freedoms, which she attributes to lack of contact (physical and otherwise). 

Alicia Framis, Karen Park Goude, anti-dog Dress (2002)

All rights are reserved. Photography by Peter Cox. 

Rabo Art Collection

Ösz made his name with The Prora Project (2001-2002), a series of photographs taken in a Nazi-built ‘wall’ of rooms with a view to the sea, on the northern German island of Rügen (1936-1939), intended to be a future vacation resort for the new Germany but never completed. The five-storey complex was to be five kilometres long, with space for 20,000 holidaymakers. Ösz photographed the identical view from the rooms.
Gábor Ösz, No. 13 Pora project, 18 rooms (dubbel windows), (2002)
All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection
Aug 1, 2014 / 1 note

Ösz made his name with The Prora Project (2001-2002), a series of photographs taken in a Nazi-built ‘wall’ of rooms with a view to the sea, on the northern German island of Rügen (1936-1939), intended to be a future vacation resort for the new Germany but never completed. The five-storey complex was to be five kilometres long, with space for 20,000 holidaymakers. Ösz photographed the identical view from the rooms.

Gábor Ösz, No. 13 Pora project, 18 rooms (dubbel windows), (2002)

All rights are reserved. Photography by Peter Cox. 

Rabo Art Collection

Amalia Pica uses sculpture, performance, installation and photography to explore the nuances of communication.
Amalia Pica, zonder titel (2009)
All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection
Jul 30, 2014 / 3 notes

Amalia Pica uses sculpture, performance, installation and photography to explore the nuances of communication.

Amalia Pica, zonder titel (2009)

All rights are reserved. Photography by Peter Cox. 

Rabo Art Collection

Robert Zandvliet is a true devotee of the art of painting, working in the three classic genres of still life, landscape, and (since 2008) the portrait. 
Robert Zandvliet, Paysage au ciel sombre (2009)
All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection
Jul 28, 2014 / 1 note

Robert Zandvliet is a true devotee of the art of painting, working in the three classic genres of still life, landscape, and (since 2008) the portrait. 

Robert Zandvliet, Paysage au ciel sombre (2009)

All rights are reserved. Photography by Peter Cox. 

Rabo Art Collection

Geelen has moved on to working in bronze and aluminium, but still approaches all his subjects in an unorthodox way, an approach that earned him the Heineken Prize in 2000. Whether it’s a bunch of dahlias cast in aluminium, a ‘modular statue’ constructed of individual elements or a commissioned work, Geelen always couples craftsmanship with dedication and tradition with precision.
Guido Geleen, zonder titel (2005)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Jul 25, 2014

Geelen has moved on to working in bronze and aluminium, but still approaches all his subjects in an unorthodox way, an approach that earned him the Heineken Prize in 2000. Whether it’s a bunch of dahlias cast in aluminium, a ‘modular statue’ constructed of individual elements or a commissioned work, Geelen always couples craftsmanship with dedication and tradition with precision.

Guido Geleen, zonder titel (2005)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

The title of the work is identical to a series of photographs by Huseyin shot in Odessa, showing curtains blowing in the wind. These images inspired an installation of hardened lace curtains, frozen in time and space. The work refers to the gesture of opening the windows to set free the soul of the deceased, as well as the idea of a spirit present in a room, mysteriously lifting the curtains to reveal its presence.
Gabriel Lester,Melancholia in Arcadia (2011)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Jul 23, 2014 / 1,198 notes

The title of the work is identical to a series of photographs by Huseyin shot in Odessa, showing curtains blowing in the wind. These images inspired an installation of hardened lace curtains, frozen in time and space. The work refers to the gesture of opening the windows to set free the soul of the deceased, as well as the idea of a spirit present in a room, mysteriously lifting the curtains to reveal its presence.

Gabriel Lester,Melancholia in Arcadia (2011)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

It’s like trying to see in the dark: it takes a while before you start to see outlines and can identify individual objects.
Maaike Schoorel, Black Still Life with Glasses and Flowers (2010)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Jul 21, 2014

It’s like trying to see in the dark: it takes a while before you start to see outlines and can identify individual objects.

Maaike Schoorel, Black Still Life with Glasses and Flowers (2010)

All rights are reserved. Photography by Peter Cox. 
Rabo Art Collection

For the series “The Widow,”exhibited in 1997, a young girl was posed in costumes and guises referencing art historical iconography.
Inez van lamsweerde, The Widow (White), (1997)
All rights are reserved. Photography by Peter Cox.Rabo Art Collection
Jul 18, 2014 / 2 notes

For the series “The Widow,”exhibited in 1997, a young girl was posed in costumes and guises referencing art historical iconography.

Inez van lamsweerde, The Widow (White), (1997)

All rights are reserved. Photography by Peter Cox.
Rabo Art Collection