Replicating Jan Schoonhoven by Cash Brown
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An investigation of the materials and techniques of Nul artist Jan Schoonhoven (1914 – 1994) was undertaken by Cash Brown as student internship activity while at Rabo Art Collection, Netherlands during May/June 2014. The investigation included making replicas of three small works in the Rabo Art Collection. This attached paper provides a report on the materials, techniques and rationale selected for the replicas, in order to develop further insights into the conservation of modern and contemporary artworks. The relevance of replicating modern works, implications of ethics and the collection metadata are discussed broadly in reflection on the learning experience.
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Artist interview with henk Peeters by Lydia Beerkens
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When the essence of a work is that it has no meaning, as with the NUL movement, what then is the meaning of physical artworks and their preservation for the future? In the interview with one of the founders of the NUL movement, visual artist Henk Peeters, these questions and other specific issues in the conservation practice are addressed in a relaxed, yet purposeful way. The meaninglessness of art is the key to Peeters’ work. The superficial, the trivial has been elevated to art, but that does not mean that the physical works from the NUL period, from1960 to 1965, have not acquired meaning.
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From Pollock drips to perfect white in Jan Schoonhoven’s Zero reliefs by Lydia Beerkens
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In recent years, painted reliefs from all periods by the Dutch Zero artist Jan J. Schoonhoven (1914–1994) have been treated, and their materials and construction techniques investigated and compared.1 From 1960 onwards, Schoonhoven, a renowned member of the Dutch Nul Group (1960–65), together with Henk Peeters (1925–2013), Armando (b. 1929), and Jan Henderikse (b. 1937), produced countless white reliefs, now spread throughout art museums and private collections around the world (Wesseling 1990, Melissen 2015).
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Rethinking Art: Bernard Aubertin and Zero by Melania Gazzotti
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In order to recount the artistic journey of Bernard Aubertin we need to not only consider the cultural context in which he began working, Paris in the late fifties, and his enlightening encounter with Yves Klein, but also, and above all, his relationship with Zero, the artists’ group founded in Germany in 1957.
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