The First Art Newspaper on the Net   Established in 1996 United States Sunday, June 24, 2018

Major exhibition of new and recent paintings by Albert Oehlen opens at Gagosian Beverly Hills
Albert Oehlen, Untitled, 2012. Oil, paper on canvas, 70 7/8 x 90 9/16 inches. © Albert Oehlen. Courtesy of the artist and Gagosian Gallery.

LOS ANGELES, CA.- Gagosian Beverly Hills presents a major exhibition of new and recent paintings by Albert Oehlen.

For Oehlen, the practice of painting and its inherent unpredictability is a subject in itself. The guiding principles of his method are impulse and eclecticism, while his tools are fingers, brushes, collage, and computer. He treats abstraction as either gesture or geometry, superimposed, in combination, or conflated with a figurative register, as in readymade posters covered in smudges and stains. Pictorial form is a trigger rather than an end in itself.

Oehlen often begins by imposing a set of rules or structural limitations. In some paintings, landscapes lurk in messy patches of paint; fleeting visions are provoked and just as quickly abandoned. Collage is both a conceptual and formal construct, from the heterogeneous combining of elements to the damaged or torn signs and magazine advertisements that form the foundations of his paintings and eventually fuse with the painted surface, composed of seemingly informal gestures, swipes, and erasures, awkward drawing, and the occasional crude cartoon. Nothing coheres in a way that could be said to have substantive narrative dimension or pictorial legibility, except for visible stops and starts that prod the limits of content.

In a new series of huge four-part aluminum panel paintings, rendered in a simple, striking palette of red, black, and white, Oehlen creates tree-like forms as vehicles for a methodical deflation of content. The tree has been a recurring motif since the 1980s; the isolated, more literal trees in paintings such as Untitled (1989) undermine the common role of identifiable images through “bad” painting. In the new schematic forms, trunks and branches are silhouettes that suggest the digital marks of art and design software, although they have been meticulously handpainted in oil paint. Flattening surface, color, and content through cut-and-paste reimaginings of a fundamental natural structure, Oehlen calls the most essential tools of painting into question.

In recent Finger Paintings, color-blocked advertisements are an extension of the canvas, providing fragmented, readymade surfaces for Oehlen’s visceral markings, made with his hands, as well as brushes, rags, and spray-cans. Oehlen exuberantly demonstrates a tension between man- and machine-made imagery, while branch-like sprays mitigate any sense of pure abstraction. Open-ended, "unfinished" dialogues between binary oppositions are unsettling yet compelling: in any one work, the paint, the collaged pictures and texts, and patches of white canvas each occupy their own space, like a worktable clutter without a center. The provisional appearance of the surfaces gives way to mesmerizing color-layers of graffiti—a testament to Oehlen’s ability to elevate common genres and materials through rigorous experimentation.

The exhibition is accompanied by a forthcoming fully illustrated catalogue with an essay by Daniel Baumann, a discussion between Oehlen and Alexander Klar, and a photo essay by Esther Freund.

Albert Oehlen was born in 1954 in Krefeld, Germany and studied at Hochschule für Bildende Künste, Hamburg. From 2000–09 he was a professor of painting at Kunstakademie Düsseldorf. Recent solo exhibitions include “I Know Whom You Showed Last Summer,” Museum of Contemporary Art North Miami (2005); “I Will Always Chamion Good Painting,” Whitechapel Art Gallery, London (2006); “Réalité abstraite,” Musée d'Art Moderne de la Ville de Paris (2009); “Albert Oehlen,” Kunstmuseum Bonn (2012); and “Albert Oehlen: Malerei,” Museum Moderner Kunst, Vienna (2013). Oehlen's work was included in the 2013 Venice Biennale.

An exhibition of Oehlen's work from the 1980s to today will be on view at Museum Wiesbaden, Germany from June 21–September 21, 2014.

Today's News

June 9, 2014

First Pop Art exhibition in Madrid in twenty years opens at the Museo Thyssen-Bornemisza

Ordovas opens the first exhibition to examine the relationship between Chillida and Miró

An 800 year old lead seal stamped by the Monastery of St. Sabas found in Israel

Major exhibition of new and recent paintings by Albert Oehlen opens at Gagosian Beverly Hills

Louvre reopens newly restored and reinstalled 18th-Century Decorative Arts Galleries

Moderna Museet opens exhibition programme in collaboration with Malmö Konstmuseum

The Kunsthaus Zürich to present its most famous paintings and sculptures in Japan

RM Auctions to offer an "Austie" Clark 1911 Mercer Type 35R Raceabout at Monterey sale

New Morgan exhibition explores the work of a long lost Renaissance illuminator to the French Queen

Exhibition unfolds an image of a present-day world with the individual at its center

1,400-lot Heritage Estate Auction includes European paintings, fine jewelry

Fascinating group of ritual aprons from 17th century to be offered at Bonhams in London

Tintin at the museum? The couple overseeing the boy hero's legacy are plotting their next move

Group show of works by three illustrators opens at Galleria MLF

Lisson presents an exhibition of contemporary art relating to architecture and the public realm

Val Britton's first solo exhibition at Gallery Wendi Norris opens in San Francisco

Newly discovered Evelyn Waugh letter from key period of his artistic development for sale at Bonhams

Exhibition of new work by Matt Johnson opens at Blum & Poe in Los Angeles

SculptureCenter presents Liz Glynn's first solo museum project in New York

Heinz Mack's 'The Sky Over Nine Columns' unveiled on the Island of San Giorgio Maggiore

Catalina Island Museum to screen acclaimed Beatles movie and interview Pattie Boyd

Four exhibitions open at the Hunterdon Art Museum featuring encaustics, drawing with water and more

Forget me not: A new series by Anna Borowy on view at janinebeangallery

How To: A project of The One Minutes by Hans Aarsman opens at Museum De Pont

Most Popular Last Seven Days

1.- Porsche Super Speedster offered for first time in 50 years at RM Sotheby's Porsche 70th Anniversary Auction

2.- Cummer Museum of Art & Gardens opens 'Storytelling: French Art from the Horvitz Collection'

3.- Gauguin: Voyage to Tahiti stars Vincent Cassel as the famed French artist

4.- Stunning colored diamonds expected to dazzle at Heritage Auctions' Summer Fine Jewelry Auction

5.- US designer Kate Spade found dead at 55

6.- Vincent Van Gogh painting sells for over 7 million euros: Artcurial auction house

7.- Sir Stanley Spencer painting discovered hidden under a bed during a drugs raid

8.- Oxford's Bodleian Libraries unveil UK's first major Tolkien exhibition in decades

9.- Major exhibition at the Guggenheim explores decades of work by Alberto Giacometti

10.- World's largest freshwater pearl goes for 320,000 euros

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful