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Albert Oehlen - Collectors Edition (NON-MINT CONDITION)

Taschen

Sale price £350.00 Regular price £1,250.00

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Albert Oehlen, Roberto Ohrt, John Corbett, Klaus Kertess, Martin Prinzhorn, Hans Werner Holzwarth

Hardcover in linen clamshell box | 37.3 x 49.2 x 7.5 cm (including box) | 660pp

Taschen | 2009 | 9783822849453

Text in English, French & German.

PLEASE NOTE:

We have only one copy of this book. It is a trade sample of a collector's edition of 1,000 signed copies. This copy is NOT signed and has cut corners to identify it as a sample (see photos).

Box condition: Good. Some light marks (see photos).

Book condition: Good. The bottom page corners have been cut as standard with trade samples (see photos).

All enquiries welcome

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Often wryly funny and just as smart, Albert Oehlen’s paintings play the medium for all it’s worth—and then some. After realising that the so-called death of painting freed him to explore “the number of aspects through which one could expand painting,” Oehlen started work on a wide variety of figurative and non-objective offerings, in what he has called his “post-non-figurative” art. The artist continuously challenges himself, setting up rules that force him to overcome convention and his own routine in order to arrive at a satisfying image. During his career he has chosen to paint only in primary colours or in grey, to integrate mirrors into his canvases, or to take up computer painting when the first PCs became available. In his most recent work Oehlen expands painting through the use of advertising posters whose in-your-face aesthetics he transforms with subtle brushwork. Never without a touch of tongue-in-cheek humour, his work seems to be winking at us as it dares us to change the way we perceive an image.

This XL monograph covers the entire scope of Oehlen’s oeuvre: Roberto Ohrt discusses the early years, when Oehlen came into his own alongside Kippenberger, Büttner, and others, part of a scene that broke rules in art and rock music. Klaus Kertess examines the years from 1988 onwards, when Oehlen saw himself more self-consciously as a painter and started his first abstract works, then continued to probe the limits of the medium. Martin Prinzhorn and John Corbett take a close look at aspects of Oehlen’s iconography, and Oehlen discusses his computer paintings in a conversation with Corbett. An exhaustive biography and bibliography 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 should pass up this unique opportunity to discover Oehlen’s remarkable body of work.

The artist

Albert Oehlen was born in Krefeld, Germany, in 1954. After graduating from the Hochschule für Bildende Kunst, Hamburg, in 1978, he came to prominence in the early 1980s, and has exhibited internationally. Influenced by Georg Baselitz, Sigmar Polke and Gerhard Richter, Oehlen's work focuses on the process of painting, exposing its structural elements. He lives in Switzerland.

The authors

Roberto Ohrt, born 1954 in Santiago de Chile, lives in Hamburg in Germany, and since 1990 has written on art, curated numerous exhibitions, and co-founded the Akademie Isotrop (1996–2001). Since 2001, he edits artist’s books through the Silverbridge publishing house in collaboration with Juli Susin.

John Corbett is a curator and writer based in Chicago. He is the co-owner of Corbett vs. Dempsey Gallery, author of Extended Play (1994), Microgroove: Forays into Other Music (2015), and Vinyl Freak: Love Letters to a Dying Medium (2017), and he produces CDs for Corbett vs. Dempsey’s label.

Art writer and curator Klaus Kertess has previously published monographs on Brice Marden and Joan Mitchell and recently written catalog essays on Lari Pittman, Chris Ofili, and Willem de Kooning, as well as contributing essays to books on John Chamberlain and Matthew Ritchie.

Martin Prinzhorn is a linguist at the University of Vienna and an art critic who regularly publishes essays in art books and magazines. Among many others, he has written on Georg Baselitz, Angela Bulloch, Lecia Dole­Recio, Will Fowler, Sarah Lucas, and Martin Kippenberger.

 

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