About this Item
The Hague: Haags Gemeentemuseum, [1967]. Octavo (21 × 21 cm). Original printed plastic wrappers (twice-folded with two panels); 6 transparent plastic leaves with silkscreen design in red, white, and black, and 2 transparent text leaves with (biographical) information printed in black. Unfortunately, the screen prints are often stuck together or show signs of past adhesion due to the inherently unstable paint coating; wrappers somewhat discolored; else good. Also included are six other exhibition catalogs: see below. Rare multiple consisting of silkscreens on transparent plastic sheets, which was also published as an exhibition catalog. Struycken transfers the principle of the exhibition to a small, reproducible format with the colored prints on the transparent image carriers. The "Structuur 67" series was created on Plexiglas panels measuring one meter high and one meter wide. The Plexiglas provided an optimally smooth surface for the paint, a kind of car paint, which was applied to carefully masked areas with a spray can. The leaves of the multiple are also smooth, in contrast to the equally transparent envelope, and come very close to the Plexiglas material. The panels were placed a few centimetres in front of the walls, so that the color form structures seemed to float in front of the walls. This impression can also be reproduced on a small scale with the leaves. At the same time, the recipient is encouraged to work with different variations by varying the order, height, and width. The square format allows for a large number of variations and constellations. "Structuur 67" is an early example of the multiples designed by Struycken. Struycken is one of the pioneers of computer art. In the 1970s, he wrote his own computer programs that calculated arrangements and constellations, which Struycken then executed. But as early as 1962, he undertook his first experiments on the mathematical relationships between color and form. In the analytical works of the 1960s, the elements of form and color are systematically examined in terms of their interactions. His exploration of color and light ultimately led to the creation of a light sculpture for the arcades of the Dutch Institute of Architecture in Rotterdam, which changes its colors every ten minutes. Struycken was one of the first Dutch artists to use computers in his work. With his systematic works, he made a significant contribution to the development of digital art. (Cf. Felicitas Krohn, AKL, CVI, 2020, p. 488.) As of January 2026, KVK, OCLC only lists two holdings in the USA and three in Canada. Catalogs: 1.) P. Struycken: Komputerstrukturen. Heerlen: Verfindustrie Jac Eyck, 1970. Octavo (15.5 × 15.5 cm). Original wrappers; 24 pp. with 6 full-page prints of computer graphics. 2.) Peter Struycken, Ad Dekkers, Jan Schoonhoven, Carel Visser. Antwerpen: Lens Fine Art, 1972. Octavo (15.5 × 21 cm). Original staple-stitched wrappers; 20 pp. with inserted flyer explaining the construction of Struycken's film "Beeld-programma I-1972". 3.) Blotkamp, Carel, Fran Haks, Marion Jobse, Toos van Kooten, Chrisien Lunshof, Piet Sol. P. Struycken. Utrecht: Utrecht State University, 1974. Quarto (30 × 30 cm). Original printed wrappers; 84 pp. (horizontally divided book block, pagination begins on the upper, narrower pages). 4.) Peter Struycken: Beelden en Projecten. Amsterdam: Rijksmuseum, 1977. Quarto (29.5 × 20.5 cm). Original wrappers; 51, [1] pp. 5.) P. Struycken. Kleur, ruimte en verandering: colour, space and change. Heerlen: Verfindustrie Jac Eyck, 1987. Octavo (19 × 19 cm). Original staple-stitched wrappers; 16 pp. 6.) P. Struycken: acht schilderijen, eight paintings. Slootdorp: Art & Project, 1990. Octavo (21 × 10 cm). Original staple-stitched wrappers; 24 pp. with 8 full-page reproductions. Edition of 500.
Seller Inventory # 55522
Contact seller
Report this item
