In the Power of Painting

One common source for Warhol, Polke and Richter is both the thing as an object and images in the media. Twombly and Marden have a more abstract point of departure, gradually producing something like a sign. Bleckner’s work seems to emerge from his sexual identity, a reality stamped by illness, Aids and death, which he recreates as a visual world composed of metaphors for the contest between light and darkness. Since the late ’80s Bleckner has been moving towards an abstraction, which culminates in a work from 1998, in which nature seems to take over as an uncontrollable force.

The selection of work presents the development of painting from the pinnacle of modernism to the height of postmodernism. 
 

Curator: Iris Müller-Westermann