Oehlen?s oeuvre is a testament to the innate freedom of the creative act. Unleashing this freedom through self-imposed constraints, Oehlen sets rules and boundaries in order to test the breaking point of painting itself. Through expressionist brushwork, Surrealist methodology, computer-generated lines, and self-conscious amateurism, he multiplies the potential of visual codes through processes of persistent accretion.00Exhibition: Gagosian Gallery, New York, USA (28.02.-15.04.2017).
Surveying the past thirty years of his career and demonstrating his immeasurable influence on contemporary painting, Albert Oehlen: Home and Garden comprises paintings, drawings, and prints from the artist's most important bodies of work. From the beginning of his career, Oehlen set himself the task of exploring the language, structures, and experiences of painting. He has managed to reinvigorate the genres of portraiture, collage, and gestural abstraction in work that deploys a staggering range of imagery and techniques. Oehlen's canvases capture haunting interiors, mutating self-portraits, archaic and digital landscapes, and cryptic fragments of language. As a younger generation of artists turns again to painting as a critical medium, Oehlen's work has only become more influential and prescient.
The title Joy Forever refers to the false promise of a common happiness, constantly played out by the proponents of the creative class and creative economy the very promise that since Romanticism has been ascribed to art itself, a vow which remains unfulfilled. The aim of F/SUW s publication is to scrutinize the false promises of distributed creativity as an ideology of cognitive capitalism. The authors devote themselves to critical examination of the structural links between art, creativity, labour and the creation of value under contemporary relations of production. Some of them do not stop at a critical diagnosis but go further, reflecting upon potential alternatives to the status quo.
A legendary painting by Rembrandt forms the centerpiece of this exploration of self-portraits by leading artists of the twentieth and twenty-first centuries. Published to commemorate an exhibition presented by Gagosian in partnership with English Heritage, this stunning volume centers on Rembrandt's masterpiece Self-Portrait with Two Circles (c. 1665), from the collection of Kenwood House in London. The painting is considered to be Rembrandt's greatest late self-portrait and is accompanied here by examples of the genre from leading artists of the past one hundred years. These include works by Francis Bacon, Jean-Michel Basquiat, Lucian Freud, and Pablo Picasso, as well as contemporary artists such as Georg Baselitz, Glenn Brown, Urs Fischer, Damien Hirst, Howard Hodgkin, Giuseppe Penone, Richard Prince, Cindy Sherman, and Rudolf Stingel, among others. Also featured is a new work by Jenny Saville, created in response to Rembrandt's masterpiece. Full-color plates of the works, generous details, and installation views of the exhibition accompany an expansive essay by art historian David Freedberg that provides a close look at the self-portraits created by Rembrandt throughout his life and considers the role of the Dutch master as the precursor of all modern painting.
Transcripts of interviews by Hans Ulrich Obrist with architects, artists, curators, film-makers, musicians, philosophers, social theorists and urbanists.
Examining the resurgent interest in painting and the proliferation of new digital media in recent years, this generously illustrated book delineates painting's complex relationship with information technology. In a survey that begins in the mid-twentieth century, long before the birth of the Internet, this book traces painting’s capacity to digest and transform other media, even as its own legitimacy has been questioned. Featuring the work of numerous renowned artists, from Sigmar Polke to Nicole Eisenman and from Cy Twombly to Amy Sillman, the book examines how painting has addressed digital technology as it relates to human experience and perception, and includes three in-depth essays and additional texts by influential thinkers from the field. Comprehensive and lavishly illustrated, the book presents a wide range of works that reconsider the assumed opposition of the digital and the analog, the human and the technological, arguing that painting has served as a means to represent—and even enact—new media. This book affirms the ongoing vitality of the medium of painting in the midst of a digital world.
Trees are a magnificent source of inspiration for artists. This book looks more closely at their role in art and how best the artist can capture their essence as the sole subject of a painting, to complete a landscape or to step into an abstract representation. In a unique collaboration, Sian and Rob Dudley combine their skills to offer insights into a range of techniques and styles. There are tips and ideas for finding inspiration, developing your ideas, information gathering, layout, tone and colour within the book. Step-by-step projects demonstrate the techniques in action, from first inspiration through to completion. With practical advice on painting through the seasons to help you to see and paint trees with new appreciation, this book is a joyful and essential guide to creating expressive paintings. A beautiful and essential guide to painting trees creatively with confidence and personal style, it is superbly illustrated with 198 colour illustrations featuring watercolour, oil and pencil technique. Will be of great interest to artists, watercolourists, English countryside enthusiasts, natural history and scientific illustrators, Trees are a magnificent source of inspiration for artists. Sian and Rob Dudley are well-known and respected artists and contribute to the online resource Art Tutor.
