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.
Transcripts of interviews by Hans Ulrich Obrist with architects, artists, curators, film-makers, musicians, philosophers, social theorists and urbanists.
This exhibition catalogue brings together works by German artist Albert Oehlen (born 1954) produced from the 1980s to the present. For his colorful, abstract pieces, Oehlen employs painting, collage and drawing techniques using his hands, spray paint and the insertion of readymade materials and images.
Frida Kahlo, Mexican artist and champion of justice and women's rights, transformed the pain and suffering of her life into enduringly powerful paintings. This XXL monograph brings together all of Kahlo's 152 paintings in stunning reproductions.
What happens when musicians make use of ideas and strategies from the art world? And what kind of pictures result when painters are influenced by music? To be interested in other people's lives, to follow the unknown, to copy it, to use it in one's own work--in short, to cross-map between the worlds of music and the visual arts: this is the subject of HYPER! A Journey into Art and Music curated by Max Dax, the former editor-in-chief of Spex and Electronic Beats. The book will include classic works such as Peter Saville's ground-breaking album cover for New Order's 1983 masterpiece Power, Corruption and Lies, and the narrative, minimalist imagery of Emil Schult on which the cover of Kraftwerk's 1974 album, Autobahn, was based, and Cyprien Gaillard's acclaimed 3D installation, Night Life, from 2015. The mutual influences between music and art will be illustrated with examples by Albert Oehlen and Scooter, Thomas Scheibitz and the Melvins, as well as Daniel Blumberg. Photographs and video works by Andrea Stappert, Sven Marquardt, Andreas Gursky, The KLF, Mark Leckey, and Bettina Pousttchi will lend the book a documentary dimension. The book is narratively underpinned by numerous background interviews that Max Dax conducted with the participants in HYPER! over the past thirty years.
During his storied, 25-year career. Martin Kippenberger (1953-1997) assaulted and transformed the art world, casting himself as provocateur, jester, carouser, philosopher, musician, instructor and artist. He was one of the most important cultural figures of his generation, whose influence and impact has only increased since his death. Book jacket.
The first major monograph on Turner Prize–nominated Glasgow artist Jim Lambie. This long-awaited volume surveys the career of Glasgow-based contemporary sculptor Jim Lambie. From his distinctive floor works, striped from wall to wall with vibrant electrical tape, to his paint-soaked mattresses, Lambie adroitly sculpts humor and pathos from the clutter of modern life. Working with items immediately at hand, as well as those sourced in secondhand and hardware stores, he resurrects record decks, speakers, clothing, accessories, doors, and mirrors to form sculptural elements in larger compositions. Lambie prioritizes sensory pleasure over intellectual response. He selects materials that are familiar and have a strong personal resonance, so that they offer a way into the work as well as a springboard to a psychological space beyond. This volume not only serves as a definitive mid-career survey but also as a major reframing of the artist’s work. Lambie’s practice has long been understood through the lens of punk and rock music, a frequent theme of his works’ titles. Here the artist and new essays instead trace his approach to the rich material histories he mines and the scrappy, resourceful spirit of his hometown, Glasgow.
By stripping the painting down to its basic rules, by using himself as a decisive subject matter, Oehlen created a body of work that diminished the limitations of previous cultural, aesthetic, and artistic obligations made on a painter and painting. This first volume to feature all of Oehlen's early self portraits reveals his balancing of figuration with abstraction, and his simultaneous questioning of the practice and history of art.
The German art scene's past and present enfants terrible team up for mixed-media mash-ups of painted photo images, ink-jet printouts, and customary (for both artists) energetic, thick applications of paint on large canvases. This meeting of the minds and materials results in a group of farcical phalluses and f]hrers, to bravura effect.
