Albert Oehlen
This book was published on the occasion of Albert Oehlen at Gagosian, 980 Madison Avenue, New York, the artist’s first exhibition with the gallery. Oehlen’s large-scale paintings combine flat, figurative cutouts with gestural strokes of oil paint, tugging at the distinctions between human-made and machine-made, representational and nonrepresentational, abstract and figurative. In some works, the open-ended, “unfinished” dialogue between binary oppositions is unsettling yet compelling; in any one work, the paint, the collaged pictures and texts, and patches of white canvas occupy their own spaces, like clutter on a worktable. The publication features a new text by John Kelsey and a conversation between Oehlen and Christopher Wool.
Original: $60.00
-70%$60.00
$18.00Albert Oehlen
This book was published on the occasion of Albert Oehlen at Gagosian, 980 Madison Avenue, New York, the artist’s first exhibition with the gallery. Oehlen’s large-scale paintings combine flat, figurative cutouts with gestural strokes of oil paint, tugging at the distinctions between human-made and machine-made, representational and nonrepresentational, abstract and figurative. In some works, the open-ended, “unfinished” dialogue between binary oppositions is unsettling yet compelling; in any one work, the paint, the collaged pictures and texts, and patches of white canvas occupy their own spaces, like clutter on a worktable. The publication features a new text by John Kelsey and a conversation between Oehlen and Christopher Wool.
Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
This book was published on the occasion of Albert Oehlen at Gagosian, 980 Madison Avenue, New York, the artist’s first exhibition with the gallery. Oehlen’s large-scale paintings combine flat, figurative cutouts with gestural strokes of oil paint, tugging at the distinctions between human-made and machine-made, representational and nonrepresentational, abstract and figurative. In some works, the open-ended, “unfinished” dialogue between binary oppositions is unsettling yet compelling; in any one work, the paint, the collaged pictures and texts, and patches of white canvas occupy their own spaces, like clutter on a worktable. The publication features a new text by John Kelsey and a conversation between Oehlen and Christopher Wool.
