A book devoted to one of the most influential contemporary painters, divided into three parts where Albert Oehlen plays simultaneously the role of the artist, the curator and the collector.
One of the most respected painters today, Albert Oehlen has explored the possibilities of painting since the 1980ª¡s, constantly questioning its methods and means through an ever-evolving style and technique. The book ranges from early figurative works from the 1980ª¡s till his 2018 series on a bright yellow background. Many of the works are monumental in scale.
At the core of his practice are the limitations he imposes on himself as a point of departure, in order to have ªsomething to push againstª¡ and thereby expand and redefine our understanding of painting.
Oehlenª¡s practice began with figurative paintings, which were defying the context of the 1980ª¡s were minimal and conceptual art prevailed. His provocative position, subjects and manner have been linked to the notion of Bad Painting throughout the early 1980ª¡s alongside artists such as Werner Bû§ttner and Martin Kippenberger. Oehlen has moved towards abstract painting in the late 1980ª¡s, continuously redefining his own vocabulary. His first abstract paintings were notably followed by black and white computer-based paintings, collaged canvases with fragments of advertising posters and paint applied on top, Fingermalerei (Finger Paintings) in the 2000ª¡s and paintings fully covered with poster cutouts.
One of the most respected painters today, Albert Oehlen has explored the possibilities of painting since the 1980ª¡s, constantly questioning its methods and means through an ever-evolving style and technique. The book ranges from early figurative works from the 1980ª¡s till his 2018 series on a bright yellow background. Many of the works are monumental in scale.
At the core of his practice are the limitations he imposes on himself as a point of departure, in order to have ªsomething to push againstª¡ and thereby expand and redefine our understanding of painting.
Oehlenª¡s practice began with figurative paintings, which were defying the context of the 1980ª¡s were minimal and conceptual art prevailed. His provocative position, subjects and manner have been linked to the notion of Bad Painting throughout the early 1980ª¡s alongside artists such as Werner Bû§ttner and Martin Kippenberger. Oehlen has moved towards abstract painting in the late 1980ª¡s, continuously redefining his own vocabulary. His first abstract paintings were notably followed by black and white computer-based paintings, collaged canvases with fragments of advertising posters and paint applied on top, Fingermalerei (Finger Paintings) in the 2000ª¡s and paintings fully covered with poster cutouts.
