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Book by Hergott, Fabrice, Oehlen, Albert

Unread book in perfect condition.

Artwork by Albert Oehlen. Contributions by Cathy Gudis. Text by Thomas Crow, Christopher Williams, Friedrich Petzel.

Artwork by Albert Oehlen. Contributions by Cathy Gudis. Text by Thomas Crow, Christopher Williams, Friedrich Petzel.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

New Book. Shipped from UK. Established seller since 2000.

For the past quarter century, the work of Albert Oehlen, thick with both imagery and paint and awash in deliberate messiness, has constantly questioned the very notion of what painting is. This retrospective catalogue, with some 80 images, reveals the scope of Oehlen's his investigations, as well as a bravura slipperiness.

For over 30 years, German painter Albert Oehlen (born 1954) has been building a body of work distinguished by its skeptical questioning of painting as a medium. Instead of turning his back on painting, though, the artist has chosen to engage with this skepticism within the medium itself. Oehlen followed his rude, provocative Neo-Expressionist attacks of the 1980s with a cooler brand of computer-based images in the 1990s, followed by a subsequent series of painted-over advertising and his more recent, abstract expressionist works, all while striving to maintain a balance of painterly passion and critical distance. This catalogue features exemplary works from the artist’s various creative periods, and emphasizes two unifying themes that run throughout Oehlen’s work: his engagement with abstraction and his notion of “post-non-figurative painting,” and the often underemphasized relation of his line to his plane and his drawing to his painting.

Grau focuses on a series of gray paintings by German painter Albert Oehlen (born 1954) from 1997 to 2008 that are made strictly by hand, diverging from his typical practice of using both paint and digital tools. The book includes reproductions, original text and an artist interview.

HARDCOVER Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Oversized.

Zust: Gutes Exemplar. 160 Seiten, mit Abbildungen, Deutsch 1320g

For over 30 years, German painter Albert Oehlen (born 1954) has been building a body of work distinguished by its skeptical questioning of painting as a medium. Instead of turning his back on painting, though, the artist has chosen to engage with this skepticism within the medium itself. Oehlen followed his rude, provocative Neo-Expressionist attacks of the 1980s with a cooler brand of computer-based images in the 1990s, followed by a subsequent series of painted-over advertising and his more recent, abstract expressionist works, all while striving to maintain a balance of painterly passion and critical distance. This catalogue features exemplary works from the artist’s various creative periods, and emphasizes two unifying themes that run throughout Oehlen’s work: his engagement with abstraction and his notion of “post-non-figurative painting,” and the often underemphasized relation of his line to his plane and his drawing to his painting.

The representation of domestic interiors has always been an important subject toBerlin-based German painter Albert Oehlen. In collaboration with Fredi Fischli andNiels Olsen, Oehlen assembled an exhibition (2014) surveying approaches to thepainting of interiors in contemporary art. His most recent artist book, In derWohnung (In the Apartment), from Studiolo artist book series, is a record of hisart historical journey. The book opens onto undulating black-and-white perspectivalline drawings of landscapes sparsely populated with fragments of work by RichardArtschwager, Mike Kelley and Martin Kippenberger, among others, which the artistuses in his own paintings. Arriving at a building set into the landscape, we encounter arecent Klebebild by Oehlen Pop art panels featuring Oehlen s collages. Severalclose-ups of the final artworks are also shown on display. A survey of Oehlen swork is being presented at the New Museum, NY, later this year.

The paintings of Albert Oehlen live by audacious strategies, by questioning the image and the rules of abstraction, and by an openness and beauty often reached through the unlikeliest of means.In this expansive monograph, we meet the full range of Oehlen’s artistic thoughts and approaches: paintings that integrate mirrors, paintings that are executed strictly in primary colors or only in gray, heavily pixelated paintings produced with the help of one of the first personal computers. We find collaged fragments of garish poster ads on canvases that transforming screaming slogans into abstract elements, charcoal drawings the size of a wall, finger paintings, and paintings in which black treelike silhouettes contort themselves into a lexicon of abstract forms. Throughout, Oehlen transforms the conceptual into the compositional, at once invigorating and challenging the viewer.Revising and updating TASCHEN’s previous Collector’s Edition, this revelatory survey explores Oehlen’s trajectory from his early days up to the present. It features more than 400 paintings as well as insightful commentaries and interviews, covering Oehlen’s different work stages and approaches. Roberto Ohrt’s essay takes us back to the special vibe of the early 1980s where Oehlen worked alongside Kippenberger, Büttner, and others, part of a scene that painted quickly and close to the pulse of time. Oehlen discusses his computer paintings with John Corbett, and follows up on his more recent work, his thoughts on art, and his day in the studio in a lengthy conversation with Alexander Klar. Together with a collection of shorter texts and statements, this brings us close to the ideas of an artist who has been dubbed “the most resourceful abstract painter alive.”

This book presents a recent series of large-format collage paintings by German artist Albert Oehlen (born 1954), utilizing cheerily cheap advertising posters. The compositions reveal themselves as interiors only on second gaze: edges of walls and floors, the elegant curve of a designer chair.

The paintings of Albert Oehlen live by audacious strategies, by questioning the image and the rules of abstraction, and by an openness and beauty often reached through the unlikeliest of means.In this expansive monograph, we meet the full range of Oehlen’s artistic thoughts and approaches: paintings that integrate mirrors, paintings that are executed strictly in primary colors or only in gray, heavily pixelated paintings produced with the help of one of the first personal computers. We find collaged fragments of garish poster ads on canvases that transforming screaming slogans into abstract elements, charcoal drawings the size of a wall, finger paintings, and paintings in which black treelike silhouettes contort themselves into a lexicon of abstract forms. Throughout, Oehlen transforms the conceptual into the compositional, at once invigorating and challenging the viewer.Revising and updating TASCHEN’s previous Collector’s Edition, this revelatory survey explores Oehlen’s trajectory from his early days up to the present. It features more than 400 paintings as well as insightful commentaries and interviews, covering Oehlen’s different work stages and approaches. Roberto Ohrt’s essay takes us back to the special vibe of the early 1980s where Oehlen worked alongside Kippenberger, Büttner, and others, part of a scene that painted quickly and close to the pulse of time. Oehlen discusses his computer paintings with John Corbett, and follows up on his more recent work, his thoughts on art, and his day in the studio in a lengthy conversation with Alexander Klar. Together with a collection of shorter texts and statements, this brings us close to the ideas of an artist who has been dubbed “the most resourceful abstract painter alive.”

Unread book in perfect condition.

Published to accompany a joint exhibition of Georg Baselitz (born 1938) and Albert Oehlen (born 1954), this volume presents the painters’ latest series alongside a conversation between the artists. From Baselitz’s neo-expressionism to Oehlen’s brutalism, the publication captures a unique visual dialogue.

Published to accompany a joint exhibition of Georg Baselitz (born 1938) and Albert Oehlen (born 1954), this volume presents the painters’ latest series alongside a conversation between the artists. From Baselitz’s neo-expressionism to Oehlen’s brutalism, the publication captures a unique visual dialogue.

This book presents a recent series of large-format collage paintings by German artist Albert Oehlen (born 1954), utilizing cheerily cheap advertising posters. The compositions reveal themselves as interiors only on second gaze: edges of walls and floors, the elegant curve of a designer chair.