The Latest

His art works puzzle you, it’s poetry and ik makes you look again and again and….
Sigurdur Gudmundsson, Looking Twice (1999)
All rights are reserved. Photography by Peter Cox.Rabo Art Collection
Sep 1, 2014 / 2 notes

His art works puzzle you, it’s poetry and ik makes you look again and again and….

Sigurdur Gudmundsson, Looking Twice (1999)

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

'The main thing I'm concerned with is how the light falls on pale skin, bruises on an arm, the beginnings of goose bumps in the cold. I'm also spending a lot of time on the mise en scène. The clothes have to be right, for example, the colours, the look and the posture has to match the image that I see in my head. Which is very detailed - right down to the nail polish.' Within these boundaries, Van Meene and her models create an atmosphere in which the images come about.
Hellen van Meene, The Secret Lives of Girls (2012)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 29, 2014

'The main thing I'm concerned with is how the light falls on pale skin, bruises on an arm, the beginnings of goose bumps in the cold. I'm also spending a lot of time on the mise en scène. The clothes have to be right, for example, the colours, the look and the posture has to match the image that I see in my head. Which is very detailed - right down to the nail polish.' Within these boundaries, Van Meene and her models create an atmosphere in which the images come about.

Hellen van Meene, The Secret Lives of Girls (2012)

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

Breukel creates a bond with the subjects of his portraits through his wooden, large format camera on a tripod. When his head disappears under the dark cloth, he leaves the subjects alone with their thoughts, fears, and questions.
Koos Breukel, Charlotte Dumas (2005)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 27, 2014

Breukel creates a bond with the subjects of his portraits through his wooden, large format camera on a tripod. When his head disappears under the dark cloth, he leaves the subjects alone with their thoughts, fears, and questions.

Koos Breukel, Charlotte Dumas (2005)

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

Van Elk has an eye to the photographic illusion and the artistic abstraction that can bestow so many different meanings on a presentation or image. 
Ger van Elk, Sketch for Seven Cubist Mouth Pieces (1979)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 25, 2014 / 2 notes

Van Elk has an eye to the photographic illusion and the artistic abstraction that can bestow so many different meanings on a presentation or image. 

Ger van Elk, Sketch for Seven Cubist Mouth Pieces (1979)

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

Car windscreens, goose feet, graphite, advertisement photos, sheep’s wool, rusting steel – all have been used in Carel Visser sculptures. 
Carel Visser, Voyageant (1992)
All rights are reserved. Photography by Peter Cox. Rabo Art Collection
Aug 22, 2014 / 2 notes

Car windscreens, goose feet, graphite, advertisement photos, sheep’s wool, rusting steel – all have been used in Carel Visser sculptures. 

Carel Visser, Voyageant (1992)

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

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 / 2 notes

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 / 1 note

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 / 8 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 / 131 notes

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 / 3 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