Florian Cramer, is an applied research professor and director of Creating 010, the research center affiliated to Willem de Kooning Academy and Piet Zwart Institute at the Rotterdam University of Applied Sciences, The Netherlands.
The worst of Max Ernst combined with the worst color palette from suburban drive-in discount furniture store. Don't sign, but sell in a Heavy Metal poster store, or cut out the middle men and sell it to your local Hells Angels chapter as club house decoration.
The kind of painting that is typical for the second half of the 80s when every provincial town had its own neo-expressionist epigone. Unsellable today ever since even the original neo-expressionists fell out of the grace of art history and, more importantly, the art market.
Could be sold to Hollywood as generic "contemporary art gallery" set decoration. Since it's fairly neutral, generic and timeless and unobtrusive, it would serve this purpose well and achieve a good selling price. However, do NOT sign - this would destroy the possibility of customizing the signature for a particular film.
Looks like a Pollock knock-off made in a factory in Shenzen. As a product made in Amsterdam, it's however not economical. Either outsource this painting labor to low-wage countries or automate production if you want to survive in the market.
This piece could work as "reverse appropriation art" - i.e. a work that will be conceptually dated back to make it fake old. As an Asger Jorn/COBRA work of the 1950s or a Markus Lüpertz work of the 1980s, this would reach gullible collector's markets as (a) a criminal fake, or even better: (b) as a fake declared conceptual art.
As Studio Practice progresses, color combinations become bolder in challenging good taste. Now we're approaching Georg Baselitz' painting ca. 1980. Since there is still a large collector market for Baselitz, for whichever reason, the recommendation can only be: sign this work and sell it!
Miró meets surrealist decalcomanie in early 70s left-wing West German printmaking aesthetics. Could also interpreted as a smoking walrus with anal bleeding. An odd bastard, could be used as a subversive piece to be sold in poster shops. Keep, but don't sign.
Reminding of late 1980s painting made by a lost generation of artists who came a too late for the boom of abstract expressionism but weren't ready for the return of conceptual art either, and ended up make their living from private painting lessons for smalltown hobbyists.
A rehash of Gerhard Richter's and Sigmar Polke's ironic post/meta-abstract art of the 1970s and 1980s. Therefore, it's too late for the contemporary art market while also being too sophisticated for low- and middlebrow corporate clients.
This is visually appealing enough, but, more than 60 years after abstract expressionism and artists like Rauschenberg and Twombly, doesn't cut it anymore as interesting contemporary art, except on a lowbrow scale (the kind of art made for regional art lending spaces etc.).
The paintbrush strokes could be interpreted as producing an either abstract or figurative painting (a fence in front of a park). Reminiscent of Gerhard Richter's early 1970s work, and in some void between Jeff Wall and Mark Rothko. Could be sold to medium size regional businesses, or upscale hotels, as office decoration.
A study of reticulation (as it can also appear in vintage film stocks) and minimal art. Could be seen as a commentary on Tacita Dean's most recent work. Should sell in a lower price range as office decoration for small to medium size businesses.
A quick-and-dirty riff on Yves Klein, executed with a paint roller and cheapening his patented International Klein Blue color to a bleached-out denim blue. Could be used as CEO art for Levis' corporate headquarters.
The work combines abstract expressionist gestural painting reminiscent of Pollock and Twombly with Mondriaan's elementary colors. It could thus either be seen as camp commentary on postwar modernism, or as a second-hand rehash belonging into a small town art gallery or, as generic ambient decoration, into the office of a middle manager of a bank or insurance company.