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Ross Bleckner, 1949 (White Clock Painting, 2009), Albertina - Sammlung Batliner
The Play between Realism and Vagueness
Already in 1990, the Vienna-based painter Hubert Scheibl was exhibited in New York side by side with American Ross Bleckner. Scheibl's paintings are abstract and impressive because of their sheer seize, atmosphere, and spatial depth. Also, they are informed by latent representationalism. His painting style if often compared to Gerhard Richter. What they have in common, though, ist only the painting tool, the broad squeegee, which they both use: for while Richter unfolds no painterly space, applying many consecutive layers of paint to the canvas, Scheibl builds his pictorial space already with the first layer of paint. He first lays the paint on with a brush and then smoothens it out with a squeegee. He then places broad brushstrokes, some with deliberation, others randomly, on this grounding. If placed in the bottom area of the painting, these brushstrokes create the impression of a horizon, evoking in the viewer mental images of landscapes, oceans, or far-out galaxies.
Ross Bleckner's career started out in the 1980s in New York, where he exhibited together with friends and exponents of "New Painting," with Julian Schnabel, Eric Fischl, and David Salle. His oeuvre is comprised of widely different groups of works: paintings about AIDS, night skies, pictures of birds, flowers, and human cells. Ever since the AIDS crisis of the 1980s, Ross Bleckner has internalized a strong sense of human mortality. He executes his floral paintings with fastidious care like still lifes. The he pulls a squeegee across the still wet canvas, blurring contours and details to the point of making them unrecognizable. This play between realism and blurry vagueness is what Bleckner has in common with both Gerhard Richter and Hubert Scheibl. For Bleckner, the quiet disappearance of the representational speaks of the transient nature of the world. For Hubert Scheibl, on the other hand, blurriness is what affords viewers freedom of association.
Das Spiel zwischen Realismus und Unschärfe
Bereits 1990 ist der in Wien tätige Hubert Scheibl mit dem Amerikaner Ross Bleckner in einer Ausstellung in New zu sehen. Scheibls Bilder sind abstrakt und beeindrucken durch ihre Größe, Atmosphäre und räumliche Tiefe. Zugleich sind sie jedoch von einer unterschwelligen Gegenständlichkeit bestimmt. Seine Malerei wird of mit der von Gerhard Richter verglichen. Die Gemeinsamkeiten beschränken sich allerdings auf da Malwerkzeug, die breite Spachtel, die beiden verwenden: Denn während Gerhard Richter keinen malerischen Raum aufbaut, baut Hubert Scheibl seinen Bildraum bereits mit der ersten Malschicht auf. Er trägt die Farben zunächst mit dem Pinsel auf und zieht sie dann mit der Spachtel glatt ab. Dann setzt er einzelne breite Pinselstriche auf den Untergrund, teils planvoll, teils zufallsgesteuert. Werden die Pinselstriche am unteren Rand der Bilder platziert, wirken sie wie ein Horizont und lassen im Kopf des Betrachters Bilder von Landschaften, Meeren oder weit entfernten Galaxien entstehen.
Ross Bleckners Karrier beginnt in den 1980er-Jahren in New York, wo er mit befreundeten Vertretern der sogenannten "Neuen Malerei" ausstellt, mit Julian Schnabel, Eric Fischl und David Salle. Sein Oeuvre umfasst ganz unterschiedliche Werkgruppen: Bilder, die Aids zum Thema haben, Nachthimmel, Vogelgemälde, Blumenbilder und menschliche Zellen. Seit der Aids-Krise in den 1980er-Jahren hat Ross Bleckner das Gefühl der Sterblichkeit verinnerlicht. Seine Blumenbilder malt er so sorgfältig wie Stillleben. Dann zieht er eine breite Spachtel über die noch nasse Farbe und verwischt Details und Umrisse der Gegenstände bis zur Unkenntlichkeit. Das Spiel zwischen Realismus und Unschärfe hat er bis zu dieser Zeit mit Gerhard Richter und Hubert Scheibl gemeinsam. Für Ross Bleckner handelt dieses leise Verschwinden des Gegenständlichen von der Vergänglichkeit der Welt. Für Hubert Scheibl hingegen verschafft die Unschärfe dem Betrachter die Freiheit zu Assoziationen.
The focus of Albertina Contemporary Art is on the art of the second half of the 20th century. Both the stars and the diversity of post-1945 art will be on display: works by Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz and Maria Lassnig, among others, form the centerpiece of this year's presentation of contemporary positions from the ALBERTINA.
Around 80 masterpieces illustrate the multi-faceted artistic production, ranging from hyperrealism to abstraction, from facets of aesthetics of color to political topics, and illustrate the complex parallel currents of the past decades.
Der Fokus von Albertina Contemporary Art liegt auf der Kunst der zweiten Hälfte des 20. Jahrhunderts. Gezeigt werden sowohl die Stars als auch die Vielfalt der Kunst nach 1945: Werke von Anselm Kiefer, Gerhard Richter, Arnulf Rainer, Georg Baselitz, Alex Katz und Maria Lassnig bilden neben anderen das Zentrum der diesjährigen Präsentation zeitgenössischer Positionen aus der ALBERTINA.
Rund 80 Meisterwerke illustrieren die facettenreiche künstlerische Produktion, die von Hyperrealismus bis Abstraktion, von farbästhetischen bis zu politischen Themen reicht, und veranschaulichen die komplexen parallelen Strömungen der vergangenen Jahrzehnte.
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After closing Caffe 163, Lu took a week off and has reappeared at Tricolore Caffe, just down the street.
As expected, people are coming out in droves to visit and have a cuppa, Squeegee style.
Looks like I may have a new hangout...
L'Atelier de Soierie - a silk-screening workshop cooperative / Silk-Screen is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.
I often experiment with new techniques; in this case I used a photograph of Amy Winehouse and also incorporated an hand rendered sketch of a shoe which I wanted to create as a screen print. I have researched artists such as Andy Warhol and Yayoi Kusama whose works have inspired me to incorporate patterns and experiment with colour blocking which made the overall print look striking.
Working with a stencil and squeegee, I found this traditional method of screen printing made the overall print look authentic due to variations in each print from the ink runs to the uneven paint strokes.
Children's Stage schedule. Our staff liked Justin Roberts & Not Ready for Naptime Players and The SqueeGees. They didn't care for The Doodlebops or the Choo-Choo Girl.
1. Squeegee the Sphynx Portrait, 2. Light on the Marshes, 3. Grasshopper Poser, 4. Day 135, 5. Typically Me, 6. Day 129- A Painful Decision, 7. Blue Lotus Portrait, 8. Baby Blues on Black,
9. Day 122-Wondering What The Future Holds Retro Portrait, 10. The Doors of Saint Paul's Basilica, 11. Unwarranted Smiles- Day 113, 12. Egret Watching the Storm portrait, 13. Day 96, 14. Clouds surreal, 15. Barrymore Gives Great Face, 16. Lunar Scenic,
17. Day 79- Naughty in Pink, 18. Trapped in this place, 19. Dune Walkway, 20. Rock Wall
Created with fd's Flickr Toys.
Ray Frenden is the first artist to take part in the Fray featured artist program. We're producing a limited run of these vinyl stickers of his design. They'll go out only to Friends of Fray subscribers with issue 1: Busted.
“All right people/Welcome to the show/Are you ready to rock?/Are you ready to go?/Now we’ve got what you want/And we’ve got what you need/So get your ass down here/And let your ears bleed.”
What an awesome show. Halfway through the toilets backed up! We had a dude come come up to us and say, "They rocked the shitter loose!"
Kind of surreal with the show being so great and people with squeegees and mops trying to navigate the crowd. If you have heard of these guys, do yourself a favor and check 'em out... They are the second coming of AC/DC!
Or the Squeegee Mop building as the family refer to it. It's a beautiful structure on Jalan Tun Razak, and is the place for organising Haj (or Haji) pilgrammages to Mecca in KL.
The building was designed by the father of someone we knew at school, and for me is one of the outstanding landmarks in the city.
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See Squegee's other pics from today's shoot.
Brother-in-law: Oh, Look. A squeegee.
Sister: Don't you remember when we saw that group of window washers, using squeegees? You said, "I want one of those."
Brother-in-law: I meant I wanted a contract with those window washers.
This is CJ's latest favorite thing to help with. She stands outside the shower to wait until I'm done, then squeegees the lower half.
She doesn't do a half-bad job... maybe I should get a stepladder so she can do the whole thing. :)
Suddenly my view was nothing but clouds and little specks of God knows what on the outside of the window!
i received my second new seagull yesterday and went to try it out and the shutter speed dial is broken!!! i want a working seagull again! i'm going nuts, this is turning into an all-summer nightmare.
This is my second entry for SOMETHING YOU USE TO CLEAN. I couldn't decide which I liked best so decided to post 2 this time...
To view other shots in SOMETHING YOU USE TO CLEAN Click Here~~