PINK de Thierry

From Wikipedia, the free encyclopedia
Jump to: navigation, search
PINK de Thierry
PINK working on OÙ EST l'ORIGINAL d'après MB, 2011.jpg
PINK working on Portrait of Ernst Gombrich – Où est l'Original, d'après MB -, 2011
Birth name Helena Scheerder
Born (1943-12-17)17 December 1943
Haarlem, Netherlands
Nationality Dutch
Field Visual arts
Training Autodidact
Movement Performance and conceptual art

PINK de Thierry (b. Helena Scheerder, 1943 in Haarlem) is a Dutch visual artist known for her meta-performance art projects,[nb 1] which included 100 days of living in a painting (At Home, 1984), 30 days of traveling in the US as a performance-art project in 1988, dayly entering Arcadia for 60 days in the 1990–91 German Et in Arcadia Ego Sum and leading the Royal Dutch Army in constructing Checkpoint to Dutch Arcadia in 1994. Since 1995, she has created a series of works entitled Letters from Arcadia.

Early years[edit]

Museum poster of two adults and two children walking down a street
Christmas 1983 project, in which a man, woman and child live for two weeks in a home in and out of the Stedelijk Museum in Amsterdam
At Home, 1984 Grote Markt square in Haarlem
Man, woman, child and three beds in roped-off museum exhibit
Standing Stone (1989); overnight stay in Renaissance Hall of the Frans Hals Museum
"Welcome" highway sign in several languages, next to a footpath through a stone wall
Checkpoint to Dutch Arcadia (1994); "Welcome" in several languages

Belgium, 1963–1971[edit]

PINK began her career as a stage and film actress in Brussels.[3] She trained with the experimental Living Theatre when it presented Frankenstein in Brussels,[nb 2] Jerzy Grotowski protégé André Desrameaux and Yoshi Oida at Peter Brook's International Centre for Theatre Research in Paris.[5]:17 During her time in Brussels PINK was influenced by designer-artist Raphaël Opstaele,[6] poet Marcel van Maele, poet and visual artist Marcel Broodthaers (in whose vernissage of his Musée d'Art Moderne, Département des Aigles she participated at his home in Brussels)[7] and architect Jef de Groote.

In the autumn of 1968, the Laboratory of Theatrical Research at Louvain University commissioned André Desrameaux and PINK to create an experimental theatre piece. The resulting performance, Erektion,[4]:18ff,57ff used text and vocalization by actors on a multi-level, wire-mesh stage over the audience. Erektion began a new art group, Mass Moving, which focused on art in public spaces.

Participating in a performance artwork by James Lee Byars in the Wide White Space Gallery (Antwerp) in 1969[8]:106 moved PINK toward the visual arts. Utrecht cultural deputy Jan Juffermans commissioned PINK, Opstaele and De Groote (who became Mass Moving)[nb 3] to create an outdoor event in the city center. The result, Motion (1969), was Mass Moving's first art intervention in an outdoor public space.[nb 4] A number of art-intervention projects on the scale of city life were created in public spaces in Europe, Africa and Japan.[nb 5] In January 1976, at the end of the Sound Stream project, Mass Moving disbanded.[4]:30,148ff

Travels and return to the Netherlands, 1972–1980[edit]

After Mass Moving's L.E.M.[4]:84ff project for the Sonsbeek Buiten De Perken outdoor art festival in Arnhem[10] and the Butterfly Project (Venice Biennale, 1972),[11][12] PINK left Mass Moving and settled in the Netherlands. From 1972 to 1980, she worked on performance works with and for postgraduate students and professionals in a number of fields.[nb 6] During this period the artist traveled to West Africa to research local rituals, studied Japanese theater with Yoshi Oida at Peter Brook's Centre International de Recherche Théâtrale in Paris and witnessed ancient rituals by Motohisa Yamakage in Japan.[5]:17[13]

Performance art[edit]

L'Art du Bonheur: Man Woman Child series, 1980–1990[edit]

From 1980 to 1995 PINK created a number of intervention-based meta-performance-art projects[nb 7] in which an iconic human unit, Man Woman Child (MWC), was used as a metaphor for humanity's cultural transference.[nb 8][15] For each project, PINK explored a theme with a mixture of public-space art intervention and performance, installation, photo and video art.[nb 9][nb 10] Large, official royal-portrait photographs remain from the exhibit.[nb 11]

In 1981's East West Home Is Best MWC lived for 30 days in a specially built, fully furnished suburban apartment inside a Holland Festival art exhibition in Amsterdam, where 30,000 visitors filed through as MWC lived their lives.[5][17] VideoSketchBook (1983) found MWC living one day apiece in 12 row houses on a 1930s street in a provincial capital. PINK adapted this performance piece into a video installation of 12 photo and 13 film portraits[18][19] at Frans Hals Museum Haarlem,[5][20][21] Vleeshal Middelburg, MMK-Arnhem,[22][23] SALA I Roma,[24][14][25] Fotofeis Edinburgh,[26] and Galerija Klovic Zagreb.[27]

At Home (1984) considered MWC the ideal family in Haarlem, Bergen and Middelburg (Frans Hals Museum Haarlem,[16]:82[21][28][29][30] KCB Bergen. Vleeshal Middelburg.[5][27][31][32][33][34]), which hosted them for 100 days in their city centers in an ideal garden against a backdrop of a full-scale painting of an ideal house (sleeping in a camper bus behind the 100-m2 exhibit). Tea Time (1986) was a VPRO television project in which MWC explored the ritual of a tea party in a meeting with a prominent family[5]:8,9,27[27][35](Honnef, 1990, p. 138)[16] at the Stedelijk Museum Amsterdam.[36] HouseRites in Crystal Museum (1987) revealed humankind's affectionate and possessive relationship with personal objects at home, set in the context of museum-art conservation.[35][37] Dutch National Arts Council. In Ter Zake. Business as Usual. USA 1988, a government-sponsored orientation trip to the United States turned into a 30-day performance artwork.[1][2][27][38] MOCA, Los Angeles and Stedelijk Museum, Amsterdam.[39]

In Standing Stone (1989), with an ice-age boulder their only luggage MWC walked to the intersection of the Saalien lateral moraine and the North Sea coast. The travelers (and their 2 12-ton luggage) stayed overnight at the Haarlem Frans Halsmuseum. When they arrived at their destination the following day MWC stood, motionless, on top of the boulder.[nb 12][16]:103[30][35][39][40][41][42][43] The boulder is on exhibit in front of PINK's former studio at Overtoom nr. 16 in Amsterdam.

In Electronic Painting at the 1990 "Tomorrow is Yesterday" exhibition at Museum Het Prinsenhof in Delft, a white-gloved chief curator replaced a painting of the Holy Family (c. 1500, unknown master) by a beautifully framed photo of MWC at their 1989 overnight stay in the Frans Hals Museum. A video of the Holy Family painting was shown on a monitor in an open safe; after visiting hours, the safe was closed.[44]

Entering Arcadia, 1990–1995[edit]

Unintelligible script on paper
Letter from Arcadia, nr 44A (1996). Indian ink on canvas, 120 by 270 centimetres (47 in × 106 in)

In 1990–91's Et in Arcadia Ego Sum, a smartly-dressed MWC entered Arcadia daily for two months. Arcadia was a large room with a half-open door in the center, bordered by four large Lego-type trees and flowers, in Rheinisches Landesmuseum Bonn and Kunsthaus Hamburg respectively.[nb 13][16][31][35] In 1992's Direction Arcadia, under a road sign pointing to アルカヂア (Arcadia) MWC was stranded with their luggage at a crowded intersection in Shinjuku, Tokyo.[46]The sculpture Bateaux pour l'Arcadie III, featuring a ferry carrying the ashes of PINK's studio works and a flame-painted safe, was exhibited at Coda Museum Apeldoorn in 1993 and in the Vleeshal of the Frans Halsmuseum in 1998.[47][48]

Checkpoint to Dutch Arcadia (1994) was a performance-art project in which PINK commanded the Dutch Royal Army in a two-week campaign to close a portion of a 135-kilometre (84 mi)-long, century-old wall built to withstand any future attack on Amsterdam. With 200 truckloads of sand and 30,000 sandbags, the Royal Engineers and Infantry (led by PINK) filled the opening. At noon daily, PINK addressed the men about the artwork and its purpose. An official-looking road sign said "Welcome to Dutch Arcadia" and "See You Again in Arcadia" in the languages of occupiers of the Netherlands (now EU member states) and immigrants expelled from the Netherlands during the 1990s.[49][50]

More art[edit]

Beyond Language: Letters from Arcadia (since 1995)[edit]

PINK was impressed by the impossibility of expressing essentials in words, writing her stories in disordered alphabets.[nb 14] Her paintings Letters from Arcadia (ongoing) are in fountain pen on canvas or palimpsest.[nb 15][48][51] Letters to Family, an ongoing cycle of art works and installations, are communications with those PINK regards as close relatives and soulmates who live on in museums and libraries (such as Samuel Beckett, Franz Kafka, Velimir Khlebnikov, James Lee Byars, Louis-Ferdinand Céline, Joseph Beuys, Piet Mondriaan, Kazimir Malevich, Marcel Broodthaers and Alberto Giacometti). Letters from the Ferryman (2001) is a series of double portraits of strangers (painted and written).[52][53] Encyclopedia Arcadia (begun 2001) is a series of books: Passions, Scripts, Prayers, Alchemy, Scriptures, Omens, Scores, Discoveries, Torn Mirages and Inventories.[54] Blanchir l'Histoire (2002–2007) is a cycle of eight paintings, 265 by 200 centimetres (104 in × 79 in) each, in which PINK explores the roots of the written word from Sumerian to Hebrew.[55][56][nb 16] In LOT of PINK (2007), the artist explores "lot" in a project where people buy a numbered artwork derived from Standing Stone with the possibility of winning a second work.[57] Satellite View on Arcadia (begun 2008) is a series of collage paintings, with torn, thin blotting paper fixed on canvas with oil paint.

Since 2010[edit]

Documented Documents (2010–2011) is a series of 120 collage works on paper based on PINK's archives. Portrait of Ernst Gombrich – Où est l'Original, d'après MB - (2011–2012) is a series of collage paintings exploring an original and its copy. Torn Mirages (2012–2013) are collage works on paper consisting of torn drawings with text references.

Museum exhibitions[edit]

  • Vleeshal, Middelburg 1983 (solo)
  • Frans Hals Museum, Haarlem 1984, 1987 and 1998 (all solo)
  • Museum Moderne Kunst, Arnhem 1986, 1989 and 2004
  • Stedelijk Museum, Amsterdam 1989 (solo)
  • Rheinisches Landesmuseum, Bonn 1990
  • Kunsthaus, Hamburg 1991
  • CODA Museum, Apeldoorn 1993

Performance projects[edit]

  • Holland Festival, Amsterdam 1981
  • Frans Hals Museum, Haarlem 1984 and 1989
  • KCB, Bergen 1984
  • Vleeshal, Middelburg 1984
  • VPRO broadcasting company, The Netherlands 1986
  • Museum of Contemporary Art, Los Angeles 1988
  • Stedelijk Museum, Amsterdam 1989
  • Museum Het Prinsenhof, Delft 1990
  • Rheinisches Landesmuseum, Bonn 1990
  • Kunsthaus, Hamburg 1991
  • Royal Dutch Army, Stelling van Amsterdam 1994

Notes and references[edit]

Notes[edit]

  1. ^ PINK reveals her view on performance art in the talk she held in 2011 about the genesis of her performance-installation artwork Ter Zake. Business as Usual, USA 1988, visiting museums in Texas, California and New York in a 30 days' journey.[1] See also the introduction on this talk by the Cultural Heritage Agency.[2]
  2. ^ Leclercq & Delville:[4]:19[...] D'origine Hollandaise, Helen Pink travaille dans le domaine de théâtre [..] Dans son art Pink aussi se distance des références traditionelles [...] Dans la foulée du Living Theatre et du Bread and Puppet Theatre [...] il s'agit de dépassser les conventions pour renouveler la perception et de la re-présentation du monde [...] Helen Pink essaye de trouver un nouveau langage. L'artiste a l'intuition d'abord, la certitude ensuite q'il est essentiel d'œuvrer dans l'espace situé entre art et théâtre.
  3. ^ Leclercq & Delville:[4]:20[...] Raphaël Opstaele, Helen Pink, Jef de Groote, trois artistes qui interpellent notamment le rapport qui unit l'œuvre à l'artiste, qui voudraient que l'art naisse d'une autre manière et qui sont prêts à reconsidérer son sens. Il restait à les réunir. Helen Pink, avec obstination et une volonté inébranlable joue la carte du rassemblement. Au-delà et à cause de leur tempérament, de leur complémentarité, de leur particularité et de leur formation, elle insiste pour que ils se découvrent.
  4. ^ Leclercq & Delville:[4]:63[...] '’Motion'’ se révèle être une action qui accorde beaucoup de place à la participation, aux inter-relations et qui se décline sur différents modes (sonores, olfactifs et visuels). Le potentiel d'intervention du collectif s'exprime pleinement et ses objectifs d'investir dans l'espace public et de développer un contexte d'échanges sont clairement énoncés.
  5. ^ Leclercq & Delville describe in their book Mass Moving (2004)[4] all the projects and actions. A first overview was published by the Mass Moving Collective in 1972 as Project 60.[9]
  6. ^ An interview by Suzanne Piët in NRC Handelsblad 1 July 1981, says (translated from Dutch): [...] PINK worked for years as actress in Belgium. She taught game and drama, gave theater- and project workshops, and made street projects
  7. ^ PINK's view on the primacy of the arts,[2] and, consequently, her handling of performance art is well revealed in the talk she has held in 2011 about the genesis of her performance-installation artwork "Ter Zake. Business as Usual, USA 1988".[1]
  8. ^ In 1994 the art critic Fabrizio Crisafulli summarizes his view on the series L'Art du Bonheur as follows (translated from Italian):[14] [...] PINK's imperturbable scenes of housing life – the family theater – radiate, thanks to the context in which it develops and to the structures in which they are shown, moments in which tautology switches in its contrary, producing a sense proliferation and, together with important components as humour and irony, the maximum effect in asking questions about existence. Family – ready made is an evil machine of ontological doubts.
  9. ^ The art critic Rob Perrée states in The Extraordinary of the Ordinary – On the Work of Pink -:[5]:35ff[...] By making the ordinary extra-ordinary, giving it luster, she at first sight disconcerts the viewer. She holds a mirror in front of him in which he sees both his conditioning and himself reflected, and that makes him aware of his unuttered love of the everyday as well. Through her work's energetic emanation she urges him to declare that love, while the code of his personal world and social life prescribes a manful silence about it. Pink's work is on the keenest edge of the knife. Not only because it doesn't let itself be fit into the current art-historically 'approved' disciplines, but above all because what according to the code ought to continue being kitsch lifts itself into art. What appears to be anachronistic becomes timeless. Supposed irony makes place for a sincere philosophy. The everyday is special.
  10. ^ The Egyptologist and art historian Evert Rodrigo concludes about these performance works (in German):[16]:67[...] Bedient sich Pink auch theatralischer Effekte, so führt sie doch entschieden Regie. Effekte werden beispielweise sorgfältig im Hinblick auf ein vollendetes Resultat kalkuliert und realisiert. Die Dimensionen und die Vielschichtigkeit ihrer Projekte zwingen Pink zu einer betont sachlichen und professionellen Arbeitsweise in einem multi-disciplinären Team. Diskussionen, Verhandlungen und Vorbereitungen mit Behörden und Teilnehmern können daher nicht isoliert betrachtet werden, sondern sie sind ein wesentlicher und integraler Bestandteil sowohl in jeder einzelnen Aktion als auch in die künstlerischen Selbstdefinition Pinks im allgemeinen.
  11. ^ Museum director Dr. D.P. Snoep,[5] says about these portraits: [...] From the quasi-realism of the extravagance of a showy still life from Holland's "Golden Age" a recognizable line runs to Pink's fixation on the apparent reality of false opulence and hollow affluence. [...] Pink is also a portrait painter in her work. Her 'royal portraits' emanate that tantalizing, unapproachable, 'making an appearance' that gives this genre of portrait its essential surplus value. Where traditional painting makes use of supplemental elements that clarify the societal or hierarchical positions, Pink's portraits, despite all the corporeality they display, build up an even greater remoteness if they can. It isn't easy to return the hard staring of the figurants for long. Video image and photography overmaster the painting.
  12. ^ Fabrizio Crisafulli cites PINK in 1994 (translated from Italian):[14] [...] "the big stone that we climb, it is our only luggage, is a two-billion-yr-old rock that in the Glacial Era 150 thousand years ago moved from Sweden to Holland. For me it is my land, my house. But also the union, the beginning. Various languages include the noun one in the noun stone, so in English stone; in German Stein (eins); in Dutch steen (een); in French pierre (première). So stone contains the meaning of one or first. In Japanese we even see that ishi means one ánd stone! During the trips of Standing Stone we stay overnight at museums as homage to human history. When reaching the destination we climb the stone and stand on it."
  13. ^ Art critic and filmmaker (i.a. The Truth According to Wikipedia) IJsbrand van Veelen, writes in 1991 (translated from Dutch):[45] [...] rushing through La Défense in Paris, images of a paradise beyond raced through my head, and in particular the images of an installation that I had just seen at the exhibition Schräg in Bonn (D), Et in Arcadia Ego Sum, by the in her home country so scandalously neglected visual artist Pink. I had witnessed how the family [MWC] arrived each day punctually at 12 noon, undo shoes, and set foot into Arcadia, a plastic paradise constructed of enlarged Lego. They walked around, replenished the basket of apples underneath the plastic tree with fresh apples, and then stood frozen in place for a while, before taking leave again of Arcadia. It was Erwin Panofsky who pointed out the shift in iconology of Et in Arcadia Ego through the ages. From Turner's 'death is present, also in Arcadia' (paradise), to Goethe's 'I too was present in the land of joy and beauty'. [...] Neo-traditional painters portrayed the theme of a careless, paradisaical life in thoroughly conservative form, expressing a yearning for a pastoral world long gone. Melancholy is inherent to the Arcadia theme, often resulting in the rendering of tear jerking scenes. Pink's paradise makes more sense, upgraded as it is to actual reality, transferring senseless romantic longing to a tangibly realistic and contemporary paradise. Surely, death is present also in her paradise, judging the real apples (signifying Eden, the Fall of Man and mortality); even more so because this Eden is constructed entirely of dead, synthetic matter. It is a standardized, modular paradise, movable and multiple, a paradise that suits La Défense as well as Manhattan. […]
  14. ^ Dr. D.P. Snoep points out (translated from Dutch):[48] [...] In exhibiting her '’Letters from Arcadia'’ PINK really emerges to have set foot in Arcadia. After all she is the sender of the letters. Like Alice PINK slipped through her own mirror – that mirror she so explicitly holds up before us through the years -. She sends us her discerning messages from beyond. Were her messages from this side already Greek to us, she now exploits an even more cryptic mailing. Food for graphologists. Her message is optimally mystified; it has become unreadable and incomprehensible. Thus overwhelming us with her splendid scriptures. The medium has become the message.
  15. ^ The art critic and exhibition curator Rob Perrée articulates (translated from Dutch):[48] [...] These Letters from Arcadia are genuine individual expressions of distinct personal emotions, completely dependent on the spirit ánd hand of the artist. Pink's technique – dip pen on canvas – looks very traditional but she again manages to extend the boundaries in painting. Use of texts and text as image is seen more often but only few artists evoke emotions through the image of a script, no else but via the content. Pink's Arcadia may seem a lone area but one where freedom has all the right of speech.
  16. ^ Art critic and curator Robbert Roos states (translated from Dutch):[56] […] Two blue jagged lines traced through red clay, curving in the center of the canvas to join one another. An archetypal as well as archaic image. Even reduced to this level of abstraction, it is still evident these are the Euphrates and Tigris, and that the terra-colored surface represents Mesopotamia, the cradle of civilization. Monumental themes are part and parcel of Pink's work, and the eight frame-series entitled 'Blanchir l'Histoire' is no exception. This painting consists of pages of the Tanakh, the Hebrew bible, collaged onto canvas, over which the artist layered brown-reddish paint. Pink treats her themes dauntlessly yet respectfully and never seems intimidated by their scope. Her artistic mission seems to consist of extracting archetypal and primal imagery from its commonplace appearance. Because open up the ordinary and you'll find the infinite. […]

References[edit]

  1. ^ a b c "PINK: Ter zake. Business as usual. USA 1988 – YouTube". youtube.com. Retrieved 10 November 2013. 
  2. ^ a b c "PINK de Thierry about the genesis of "Ter Zake. Business as Usual, USA 1988" | Rijksdienst voor het Cultureel Erfgoed". cultureelerfgoed.nl. Retrieved 10 November 2013. 
  3. ^ "Catalogue Netherlands Media Art Institute". catalogue.nimk.nl. Retrieved 10 November 2013. 
  4. ^ a b c d e f g Leclercq, Catherine & Devillez, Virginie (eds.) MASS MOVING – un aspect de l'art contemporain en Belgique – Éditions Labor, Brussels 2004 (FR). ISBN 2-8040-1895-4
  5. ^ a b c d e f g h Snoep, Derk P. and Perrée, Rob (ed.) PINK WORKS (EN) Editions d'Art PAP, Amsterdam 1988
  6. ^ "RAPHAËL AUGUST OPSTAELE « Verbeke Foundation". verbekefoundation.com. Retrieved 10 November 2013. 
  7. ^ Goldwater, Marge, et al. MARCEL BROODTHAERS catalog Walker Art Center, Minneapolis 1989 (EN) ISBN 978-0-8478-1057-4
  8. ^ Harten, Jürgen (ed.) (1986) James Lee Byers – The Philosophical Palace - Städtische Kunsthalle Düsseldorf (DE/EN)
  9. ^ MASS MOVING, Traité de méthodologie culturelle à l'usage de la jeune génération, Projet n°60, Bruxelles, André de Rache Éditeur, 1972
  10. ^ SONSBEEK BUITEN DE PERKEN (1971) catalog I&II Sonsbeek, Arnhem (I) p.118,119,204 (II) p.27 (NE/EN)
  11. ^ Lebeer, Irmeline (1972) "Mass Moving" Chroniques de L'ART VIVANT nr. 32, Paris p.11 ff (FR)
  12. ^ "TOBEART.com : BOOKS / LIBROS / LIVRES – Revue : Chroniques de l'ART VIVANT N°32". tobeart.com. Retrieved 10 November 2013. 
  13. ^ See for an introduction on ancient Shinto history and rituals: Yamakage, Motohisa THE ESSENCE OF SHINTO – Japan's spiritual heart - Kodansha International, Tokyo 2006 (EN). ISBN 4-7700-3044-4
  14. ^ a b c Crisafulli, Fabrizio (February 1994) "PINK" JULIET Vol.XV nr.66 p.46 (IT), Italy <http://julietartmagazine.com/issues/
  15. ^ Rodrigo, Evert (1993) "NOOIT IETS NIEUWS ONDER DE ZON" Nederlandse Kunst Rijksaankopen Waanders, Zwolle p.36 ff. ISBN 90-6630-436-7
  16. ^ a b c d e Honnef, Klaus; Donker Duyvis, Paul; Rodrigo, Evert, et al Et in Arcadia Ego Sum in SCHRÄG catalog exhibition. Edition Braus, Heidelberg 1990 (DE), Germany ISBN 3-925835-94-6
  17. ^ Ruler, Dick van (1983) "PINK L'ART DU BONHEUR" PLAN NL journal on architecture and urban development nr.3 p. 13–18
  18. ^ Perrée, Rob (1983) "DE PEEPSHOW VAN PINK" De Groene Amsterdammer journal nr.30 p.107
  19. ^ Perrée, Rob INTO VIDEO ART Idea Books 1988 p.26 ff. (NE/EN). ISBN 90-71641-02-3
  20. ^ "Search the collection – Frans Hals Museum". franshalsmuseum.nl. Retrieved 10 November 2013. 
  21. ^ a b Ruler, Dick van (1984). "MAAR WAT ZIE JE DAAR NU EIGENLIJK?" catalogus Frans Hals Museum, Haarlem
  22. ^ Oele, Anneke & Brandt Corstius, Liesbeth. VIJF JAAR AANWINSTEN HEDENDAAGSE KUNST 1984–1989 MMK-Arnhem 1989. ISBN 90-72861-05-1
  23. ^ Alkema, Joke PINK in FAM. catalog MMK Arnhem 2004
  24. ^ Turner, Jonathan. VideoSketchBook and Standing Stone by Pink in DOUBLE DUTCH, catalogue Edizioni SALA I, Roma, Italy 1992 (EN/IT)
  25. ^ Turner, Jonathan (September 1992) "Schijn en Werkelijkheid" TABLEAU Vol.15 nr.1 p.35 ff.
  26. ^ Reinaudo, Alain & Tisseron, Serge (1993) PUBLIC and PRIVATE – secrets must circulate - exhibition catalog (EN). Stills – Institut Français d'Écosse – Alain Reinaudo. Scotland p.56,57
  27. ^ a b c d Perrée, Rob (February 1989) "PERFORMANCE IN DE JAREN TACHTIG – PINK geeft glans aan het alledaagse -" KUNSTBEELD Vol.13 nr.2 p.50 ff.
  28. ^ Haarlems Dagblad 11 mei 1984. Oomkes, John "HET RITUEEL VAN HET DAGELIJKS LEVEN"
  29. ^ "Search the collection – Frans Hals Museum". franshalsmuseum.nl. Retrieved 10 November 2013. 
  30. ^ a b Erftemeijer, Antoon. Slapen in het Museum 100 JAAR FRANS HALS MUSEUM, Jubileumboek Frans Hals Museum, Haarlem 2013 p. 202
  31. ^ a b Jong, Erik de & Dominicus-van Soest, Marleen. "PINK" AARDSE PARADIJZEN. Frans Hals Museum, Haarlem & Rijksmuseum Twenthe, Enschede 1999 pp. 138, 246. ISBN 90-804456-2-2
  32. ^ Leigh, Roderic (2/1989) "ART IN THE OPEN" Holland Herald p.20 ff.
  33. ^ Oosthoek, Andreas DE GENTSE COLLECTIE catalog. Bureau Culturele Zaken, Middelburg 1984
  34. ^ Provinciale Zeeuwse Courant 28 July 1984. "EEN DROOMHUIS OP HET ABDIJPLEIN"
  35. ^ a b c d Turner, Jonathan (February 1991) "TEATIME WITH PINK" ARTnews Vol.90 nr.2 p.13 ff. (EN) USA
  36. ^ "Search – Stedelijk Museum Amsterdam". stedelijk.nl. Retrieved 10 November 2013. 
  37. ^ Leigh, Roderic (1989 February) "PINK's HOUSERITES in the CRYSTAL MUSEUM" TWO and TWO Mickery bi-monthly p.15 ff.
  38. ^ Kuyvenhoven, Fransje (ed.); Rodrigo, Evert GEKREGEN – aanwinsten van de staat 1990–2010 - Cultural Heritage Agency, Art Collection Dpt., Amsterdam University Press, Amsterdam 2011 p.101 ff. (NE/EN-summary) ISBN 978-90-8964-299-8
  39. ^ a b <Snoep, Derk. PINK WORKS exhibition catalog (NE/EN). PAP Amsterdam 1989
  40. ^ Het Parool 8 April 1989. Houts, Cathérine van, "PINK GEEFT GLANS AAN DE ALLEDAAGSHEID"
  41. ^ NRC Handelsblad 21 April 1989. PINK 'HOLLANDS DAGBOEK'
  42. ^ Tsuji, K. 15 June 1991. "STANDING STONE by De Koning Family" Poetry Magazine nr.37 (JA), Japan
  43. ^ "Gemeentemuseum Helmond | Standing Stone Nederland II". gemeentemuseumhelmond.nl. Retrieved 10 November 2013. 
  44. ^ "Pink" MORGEN IS GISTEREN catalog. Kultus, Delft 1990 p.44 ff.
  45. ^ Veelen, IJsbrand van (1991) "ÁRCADIË" ART-i vol.3 nr.8 p.80 ff
  46. ^ "Gemeentemuseum Helmond | Direction Arcadia. Tokyo 27–3–91". gemeentemuseumhelmond.nl. Retrieved 10 November 2013. 
  47. ^ Becht, Frits & Bless, Frits PAPIER PER SE exhibition catalog Van Reekum Museum, Apeldoorn 1993 p.32 ff. (NE/EN)
  48. ^ a b c d Snoep, Derk P. & Perrée, Rob. BRIEVEN uit ARCADIA, catalogus Frans Hals Museum, Haarlem 1998
  49. ^ Het Parool 6 June 1994. Houts, Cathérine van "DIENSTPLICHTIGEN DIENEN KUNST EN PINK"
  50. ^ Le Soir le 7ême 15/16 October 1994. Calmé, Roger "LE PLAIDOYER D'UNE ARTISTE" (FR), Belgium
  51. ^ Veen, Corrie van der (ed.) ANYTHING BUT HOMELESS (NE-EN) NOG Collectie. Bos Uitgeefprojecten, Amsterdam 2006. ISBN 90-76923-03-5
  52. ^ Perrée, Rob PINK. LETTERS OF THE FERRYMAN (NE/EN) Willem Jubels Publishing, Zandvoort 2005. ISBN 90-809533-2-6
  53. ^ Perrée, Rob. (November 2001) "PINK" KUNSTBEELD Vol.25 nr.11 p.54
  54. ^ Perrée, Rob Cover to Cover – The Artist's Book in Perspective - (EN) N.A.I. Publishers, Rotterdam 2002 p.99
  55. ^ Perrée, Rob PINK – Blanchir l'Histoire catalogue (NE/EN) Galerie Witteveen, Amsterdam 2005
  56. ^ a b Roos, Robbert (November 2005) "ARCADISCH – Blanchir l'Histoire -" KUNSTBEELD Vol.29 nr.11 p.36 ff.
  57. ^ Jongenelen, Sandra (February 2007) "LOT van PINK" KUNSTBEELD Vol.32 nr.2 p.19

External links[edit]