Albert Oehlen Art

Numbered and signed screenprint in an edition of 100. The abstract motif recalls the limbs of a tree, taking up a theme that first appeared in Oehlen’s work in 1988 and which he has ...

Albert Oehlen (German, b. 1954) is in the top rank of living German painters. I can't afford to deal in his original paintings, but when I saw this great lithograph from his recent (...

Art Edition Book: 13.0 x 17.3 in. Digital Fine Art Print: 25.6 x 19.7 in. This Art Edition, numbered 1-100, is limited to 100 individually numbered copies, each signed by Albert Oehlen. Each comes with the signed digital fine art print Untitled, 2009, on archival photo carton, 65 x 50 cm (25.6 x 19.7 in.), each print individually overworked by the artist. Art Edition (No. 1-100) Untitled, 2009 Digital fine art print 65 x 50 cm (25.6 x 19.7 in.) (Frame not included) Often wryly funny and just as smart, Albert Oehlen's paintings play the medium for all it's worth - and then some. After realizing 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 in primary colors only or in gray, to integrate mirrors into his canvases, or to start on computer paintings 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 humor, 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...