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Albert Oehlen

By (author) Klaus Kertess, By (author) Roberto Ohrt, Edited by Hans Werner Holzwarth

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This title discusses about the good bad painter. This is the definitive monograph of Oehlen's work to date. This XL retrospective explores Albert Oehlen's entire career chronologically and examines his creative process via in-depth texts. This Art Edition is limited to 100 copies worldwide, each copy is numbered and signed by the artist and accompanied by an original artwork. Albert Oehlen seeks the limits of painting in his work, challenging viewers to abandon their instinctive expectations. His early work in the late 1970s - when painting was decidedly out of fashion - was associated with a so-called 'bad painting' movement, in that it aimed at challenging ideas about what makes a painting 'good' or 'bad'; a recent exhibition in London was, somewhat ironically, entitled 'I Will Always Champion Good Painting'. With an approach he describes as 'post-non-representational', Oehlen uses painting not only as a way to convey meaning, but also as a means of exploring the function a painting can serve - often a painting's title itself gives the work an entirely new dimension. 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 look at art. Combining subtlety and sophistication with chaos and brutality, Oehlen has left an indelible mark on contemporary painting. This XL monograph explores all groups of Oehlen's work chronologically via genre-oriented approach, such as mud-colored paintings, mirror paintings, computer paintings, and so forth. Like a series of interlocking episodes, the chapters of the book draw the reader into a complex drama of constantly evolving themes. In-depth texts get to the root of Oehlen's creative process, and an exhaustive bibliography and biography 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 can afford pass up this unique opportunity to discover Oehlen's work. And to anyone who says painting is obsolete: we beg to differ.

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