#Herman de vries

[thunderstruck9]

Herman de Vries (Dutch, 1931), Zufallsobjektivierung [Random objectification], 1965. Relief (wooden elements arranged at random on chipboard, white paint tempera), 120 x 120 x 12 cm, in artist’s frame.

#herman de vries #dutch art

[paintedout]

herman de vries

#art #drawing #herman de vries

[slack-wise]

Herman de Vries

#Herman de Vries #artists

[garadinervi]

From: herman de vries: ‘an katharina’, Published by Lindgehrn-Verlag, Henkerswiese, Printed by Aktiv Druck & Verlag, Ebelsbach, 2014, Edition of 216 [Peter Foolen, Eindhoven]

#graphic design #art #handwriting #poetry #visual writing #drawing #correspondence #card #book #herman de vries #katharina winterhalter #lindgehrn verlag #aktiv druck & verlag

[istmos]

Herman de Vries, 2009

https://www.hermandevries.org/

#herman de vries

[krisis-krinein]

#herman de vries

[everythingabitbit]

#herman de vries #art #nature art #Instagram

[rbolick]

Books On Books Collection - Anne Moeglin-Delcroix

Ambulo Ergo Sum: Nature As Experience in Artists’ Books (2015)  Ambulo Ergo Sum: Nature As Experience in Artists’ Books (2015) Anne Moeglin-Delcroix and Richard Sadleir, trans. Case bound, printed paper over board, with green endbands and matching doublures. H225 x W155 mm. 96 pages. Acquired from Book Depository, 21 August 2019. Photo: Books On Books Collection. For her extended essay, Anne…

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#Anne Moeglin-Delcroix #Claire Bolton #Hamish Fulton #Helen Douglas #herman de vries #Margaret (Molly) Coy #Richard Long

[lepointmobile]

Herman de vries

#art contemporain #herman de vries

[thomasmartinnutt]

herman de vries. Stone Collage on Cardboard, 2010

[polkadotmotmot]

Herman de Vries - From Earth: South America, Andes, 2018

#up

[ibnbarbarossa]

herman de vries

[goodmemory]

THIS - Herman de Vries

[garadinervi]

herman de vries, on language – logical sentences, semantic structure fields, open semantic fields, semantic perspectiv[e]s, semantic sign, argumentstellen, semiotic structure fields, samples, tautologies, e.o., Subvers Press, IJmuiden, 1972, Edition of 600 numbered copies [The Idea of the Book, Portland]

#graphic design #typography #art #poetry #concrete poetry #visual poetry #book #cover #book cover #herman de vries #subvers press #1970s

[worldsandemanations]

herman de vries. V 69-15, 1969

[asin201masters]

just as last year in my bfahons, I worked on a code of ethics around collecting and gleaning matter for art making so too has ecological installation artist herman de vries. I have attached his 1999 outline below:

vegetation and art (1999)

living things should be treated with respect for their own message

nature is our primary reality. the experience of nature is a universal human value. vegetation is the basis of our existence.

in art, nature becomes revolution.

bonsai, constricted and malformed trees or plants are not art. they are perversion.

in dealing with vegetation or plants in art, the artist needs in-depth knowledge about what he is working with.

to bring plants and art together is a challenge for art.

art in nature is totally superfluous. art can add nothing of significance to nature. the statements of nature are perfect.

the restoration of natural relationships can be an artistic act.

in view of what we imagine nature would do without human intervention. a park is, generally speaking, culturally impoverished nature.

the ideals of the zen garden - asymmetry, simplicity, spontaneity, the absence of formalism , are nowhere as clearly accessible to visual experience as in naturally flourishing vegetation. what wonderful things are 'abandoned lots', terrain vague, where mugwort, blackberries, thistles and wasteland take over.

herman de vries, 1999

source: herman de vries, 'vegetation and art. 10 theses', in exhibition catalogue trans'plant. Living Vegetation in Contemporary Art (Hatje Cantz : Ostfildern 2000) 130-131 (ill.). Published in German in catalogue rosegarden. Verlorene Orte (Rosenheim 1999) 19 and in French in in herman de vries (Anthèse : Arcueil 2000) 14.