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Albert Oehlen

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Albert Oehlen, Roberto Ohrt, John Corbett, Klaus Kertess, Martin Prinzhorn, Hans Werner Holzwarth

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Albert Oehlen by Albert Oehlen, Roberto Ohrt, John Corbett, Klaus Kertess, Martin Prinzhorn, Hans Werner Holzwarth
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Albert Oehlen

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Albert Oehlen, Roberto Ohrt, John Corbett, Klaus Kertess, Martin Prinzhorn, Hans Werner Holzwarth

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US$ 1,500

Or 3 payments of US$500.00 with , 0% interest. You will always be charged in USD, unless paying with Atome.IconInformation

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Publisher: TASCHEN

Limited Edition

Dimensions: 44cm (H) x 33cm (W) / 17.3" (H) x 13" (W)

Note: Actual colours may vary due to photography & computer settings.

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Limited to 1,000 numbered copies, each signed by Albert Oehlen.

Often wryly funny and just as smart, Albert Oehlen’s paintings play the medium for all it’s worth—and then some. After realizing that the so-called death of painting freed him to explore “the number of aspects through which one could expand painting,” Oehlen started work on a wide variety of figurative and non-objective offerings, in what he has called his “post-non-figurative” art. The artist continuously challenges himself, setting up rules that force him to overcome convention and his own routine in order to arrive at a satisfying image. During his career he has chosen to paint only in primary colors or in gray, to integrate mirrors into his canvases, or to take up computer painting when the first PCs became available. In his most recent work Oehlen expands painting through the use of advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humor, his work seems to be winking at us as it dares us to change the way we perceive an image.

This XL monograph covers the entire scope of Oehlen’s oeuvre: Roberto Ohrt discusses the early years, when Oehlen came into his own alongside Kippenberger, Büttner, and others, part of a scene that broke rules in art and rock music. Klaus Kertess examines the years from 1988 onwards, when Oehlen saw himself more self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium. Martin Prinzhorn and John Corbett take a close look at aspects of Oehlen’s iconography, and Oehlen discusses his computer paintings in a conversation with Corbett. An exhaustive biography and bibliography round out this comprehensive study. While Oehlen fans will rejoice at the publication of this breathtaking book, no one with an interest in contemporary art should pass up this unique opportunity to discover Oehlen’s remarkable body of work.

“The most resourceful abstract painter alive.” —The New Yorker

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