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Albert Oehlen - Elevator Paintings - Trees by Albert Oehlen,Andreas van Dühren Pdf
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).
Four decades after he first burst onto the international art scene in the early 1980s, Albert Oehlen (born 1954) remains among the most influential and controversial painters of the present. Operating between figuration and abstraction with vigor and energy, Oehlen relentlessly critiques painting's history, its clichés and its relationship to the imagery of the advertising and pop industries--all within the medium itself (rather than in another art form). Reproducing 110 works, this volume, designed by Heimo Zobernig, takes something of an artist's book approach to Oehlen's oeuvre, emphasizing its methodological complexity, vitality and conflicts. Alongside an interview between Oehlen and fellow painter Daniel Richter, this catalogue contains conversations on the implications of Oehlen's work between Rochelle Feinstein and Kerstin Stakemeier, and between Hal Foster and Achim Hochdörfer.
Albert Oehlen Boxed Edition by Klaus Kertess,Albert Oehlen,John Corbett,Roberto Ohrt Pdf
Limited to 1,000 copies, each numbered and signed by the artist, each signed by the artist. Often wryly funny and just as smart, Albert Oehlen's paintings play the medium for all it's worth. After an early realization that the so-called death of painting actually freed his enthusiasm as to the number of aspects through which one could expand painting, Oehlen, got to work on a wide variety of figurative and non-objective offerings, in what he has called his post-non-representational art. In his most recent work group Oehlen expands painting through the use of blatant advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. 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 an image. Klaus Kertess throws a light on the years from 1988 onwards, when Oehlen saw himself self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium.
Between 1990 and 1992, Philip-Lorca diCorcia, funded by a National Endowment for the Arts fellowship, made multiple trips to Los Angeles to scout locations, invent scenarios and to find male prostitutes that would agree to pose for his camera. The last task proved to be the easiest: diCorcia simply used his fellowship money to pay the men whatever price they charged for their most typical service and ultimately prompted a complaint of misuse of government funds. In 1993, 21 selected images were initially exhibited at The Museum of Modern Art, marking Philip-Lorca diCorcia's first solo exhibition. The show, entitled Strangers was accompanied by a museum catalog. Twenty years later, steidldangin publishes the series in its entirety. Hustlers is an empathetic yet melancholic poem of the Hollywood dream gone wrong, prescribing to the heavily-staged pictorialism and happenstance of street casting for which diCorcia is most widely recognized. Knowing precisely what he wanted from each photograph, and fearful of police involvement, diCorcia would prearrange all settings: this motel room, that vacant lot, in between cars, in a fast-food restaurant--the narrative was always deliberate. From the moment diCorcia approached a potential subject (usually around Santa Monica Boulevard in Hollywood), to the completion of the shoot, seldom more than one hour had passed. The titles of these encounters amplify the facts--for example: Ralph Smith, 21 years old, Ft. Lauderdale, Florida, and $25.
Albert Oehlen by Massimiliano Gioni,Fredi Fischli,Niels Olsen,Mark Godfrey,Anne Pontégnie Pdf
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.
Continuing Albert Oehlen's interest in posters, this volume contains loose, unbound images of ten paintings contained within a large fold-out poster set designed by the artist. Closely associated with the Cologne art scene and the Neue Wilde movement, Oehlen was also formally a member of the Lord Jim Lodge along with Martin Kippenberger, among others. The artist's latest series of paintings vividly merge image, text and symbol in an explosive form that Oehlen has called 'free collage'. Combining oil, inkjet print collage and spraypaint on canvas, Oehlen's paintings are characterised by dirty smears at their centre; reflecting the artist's ability to interrogate the possibilities of painting and challenge the viewer's reading of visual language.
Transcripts of interviews by Hans Ulrich Obrist with architects, artists, curators, film-makers, musicians, philosophers, social theorists and urbanists.
Piotr Uklanski, a New York based artist, has put together a most surprising and at the same time simple series of pictures. With them he has created an art book consisting of 160 portraits of movie actors playing Nazis. This volume is as much about history as it is about the industry of entertainment. In 1998, The Observer, London, wrote about these compelling and at the same time enstranging portraits: "If you are an actor, chances are that you will play a Nazi, or at least a cruel German officer in the Second World War. How do you make yourself look the part? First comes the matter of expression. Mug up on verbal cliches: 'ice-cold eyes', 'thin, compressed lips', with if possible, 'the hint of cynical smile playing around the corners of the mouth'. An 'air of cold command', rigid jaw muscles denoting 'utter ruthlessness', a tiny flare of nostrils to suggest unspeakable depths of sadism. Fine! Now put on the gear: the tunic with its collar-tabs of SS lightning flashes, the tall black cap with eagle, swastika and death's head. Stunning! Now all you need is that gargling accent unlike any noise ever uttered by a real German."
In four decades of abstract art practice, Lynda Benglis has not merely challenged the status quo. She has tied it in knots, melted it down and poured it across the floor, cast it in glass, clay and bronze. Daring and sometimes outrageous, her intense and provocative practice has produced some of the most iconic pieces of art from the late twentieth century. Richmond gives serious critical attention to work often dismissed as trivial and rootless, recovering the themes that link the different phases of the artist's quest to capture the 'frozen gesture'. Whether challenging popular tastes and definitions of art with her 1970s abstract knotwork or mocking puritanical aesthetics of gender with her colourful latex pourings and their allusions to corporeal topographies, Benglis never failed to provoke. Her sculptures commemorate and celebrate the processes of creation themselves, combining architectonic abstraction and feminized sensuality in a haunting, visceral theme of the strangeness of the body that runs through all her experiments in glass, video, metals, ceramics, gold leaf, paper and plastics. Lynda Benglis: Beyond Process examines in depth the work and critical neglect of an artist who, perhaps more than any of her contemporaries, changed the face of American art in the 1960s and 1970s, and continues to fetishise, provoke and demand your attention.
Hongkong im Jahr 2020: Das ist medizinischer, wirtschaftlicher und vor allem auch politischer Ausnahmezustand – alles zugleich. Die Vielschichtigkeit dieser Krise lässt sich kaum in Worte fassen. Aber dafür in Bilder. Elisabeth Neudörfl hat sich auf den Weg in die lebhafte Metropole gemacht, um die Situation vor Ort fotografisch festzuhalten. Sie traf auf eine Stadt, die tief geprägt war von Protesten und ihrem Kampf um Demokratie, der Unnachgiebigkeit der Macht und dem Aufziehen der Covid-19-Pandemie. Neudörfls Bilder entstanden u.a. auf den Demonstrationsrouten und an den Universitäten. Und überall blickt man auf eine Dystopie: geschlossene Läden, Straßen ohne Verkehr, menschenleere Metrostationen. Allein die Graffiti spiegeln die Auseinandersetzungen und die Veränderungen in der Stadt. Mit diesen Aufnahmen vermag man sich selbst ein Bild der Katastrophe zu machen.
Visions of the Self: Rembrandt and Now by Anonim Pdf
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.
