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Benjamin Rubloff (When I was there)
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Product Details
Author:
Duncan Ballantyne-Way, Benjamin Rubloff
Format:
Hardcover
Pages:
116
Publisher:
Verlag Kettler (October 8, 2024)
Imprint:
Verlag Kettler
Language:
English
Audience:
General/trade
ISBN-13:
9783987411441
ISBN-10:
3987411449
Weight:
21.44oz
Dimensions:
7.402" x 9.843" x 0.65"
File:
Eloquence-SimonSchuster_07042026_P10292974_onix30_Complete-20260704.xml
Folder:
Eloquence
List Price:
$54.00
Pub Discount:
65
Case Pack:
10
As low as:
$41.58
Publisher Identifier:
P-SS
Discount Code:
A
Overview
Benjamin Rubloff's paintings in this book are all based on fragments of found graffiti. For many years, Benjamin Rubloff photographed tags and graffiti as he walked around the city, turning the marks into oil paintings.
Benjamin Rubloff's paintings in this book are all based on fragments of found graffiti. For many years, the artist photographed tags as he walked around the city, mainly because he was interested in their painterly qualities: the speed of a gesture, the way they sit on a wall, their random drips and splashes. As an experiment, he began copying these marks into oil paintings, altering the scale and framing, but otherwise aiming for an exact transcription of the original tag. His intention was to create abstract paintings that would not bear the qualities of his own hand. Instead, they would be records of the traces of others.
When he retraced his steps — sometimes years later — to find the original tags, Rubloff often found them gone. Sometimes the sites themselves had been radically altered. He began to write about these places in conjunction with the paintings, exploring the intersection of their histories with his own. As a result, each painting in the book is accompanied by a text and a photograph of the site, intended to provide an anchor back to the city itself.
Benjamin Rubloff's paintings in this book are all based on fragments of found graffiti. For many years, the artist photographed tags as he walked around the city, mainly because he was interested in their painterly qualities: the speed of a gesture, the way they sit on a wall, their random drips and splashes. As an experiment, he began copying these marks into oil paintings, altering the scale and framing, but otherwise aiming for an exact transcription of the original tag. His intention was to create abstract paintings that would not bear the qualities of his own hand. Instead, they would be records of the traces of others.
When he retraced his steps — sometimes years later — to find the original tags, Rubloff often found them gone. Sometimes the sites themselves had been radically altered. He began to write about these places in conjunction with the paintings, exploring the intersection of their histories with his own. As a result, each painting in the book is accompanied by a text and a photograph of the site, intended to provide an anchor back to the city itself.
