The show begins with a rather conventional ''Self-Portrait With Open Mouth'' (2001), a big, beautifully rendered likeness whose vacant stare seems occasioned by a profound immersion in the world's weltschmerz. It is so impressive to me what he did — so funny and so smart. O’BRIEN: And then you end up as an installation artist? That’s no longer chance. At the Palazzo Grassi, Venice, a career-spanning exhibition of paintings by Albert Oehlen, entitled Cows by the Water, went on view in the spring of 2018. “. I got completely resistant to it. OEHLEN: I think what’s interesting is the difference of the one guy who knows so much and is full of ideas but can’t really make an interesting work—and the other one who is half stupid, and just does it. © 2020 Guardian News & Media Limited or its affiliated companies. Does that make any sense? Also, our teachers were activist-artists. .O’BRIEN: Well, it’s sort of kept going. I think Dieter Roth could not have done it because he was not a painter. The other paintings are the opposite. “I was even against art for a while,” he says, laughing. Eight self-portraits, ranging in date back to 1983, meld figuration with abstraction while referring to the work of past masters, among them Picasso, Velázquez and de Chirico. For him it’s exactly the same. OEHLEN: I have the same thing going on. O’BRIEN: I think there used to be more of that in the old days, maybe at the Cedar Tavern. AO: The first thing I was into was Acid house, which I liked because it was so stupid. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York. [answers phone] Hey. You didn’t go to classes every day to learn something. Because at that time, especially when you’re young and a bit naïve, a lot of things seem possible. Albert Oehlen By all means, I wanted a change. . OEHLEN: Yeah, it’s a very, very simple structure—it’s really noisy stuff that I’m smoothing down. He had a big knowledge, and to me it looks like he was almost the opposite of Pollock. OEHLEN: Well, it’s a saying. What the difference proves is the versatility of this restless painter, who said in an interview not long ago, ''The artist's 'freedom' is the duty not to be boring.'' In ''Self-Portrait as a Dutch Woman'' (1983), he is a bare torso wearing the white, winged Dutch cap of Holland's Golden Age. “I like the stiffness,” says Oehlen, “It has this modern technological feel to it, and it’s actually much easier to paint on than canvas. [laughs] Chris Lunch—I don’t know if you know that guy, a funny experimenter of music .
OEHLEN: Oh, I think there are still those people.
Christian Malycha is an art historian, curator, and member of the executive board of Kerber Artbook Publishers. OEHLEN: Mittagspause. And he has breathed some intoxicatingly revivifying fumes into the corpse of surrealism in the bargain. If I see that ability, I become a fan and get enthusiastic. Raymond Foye offers a window into his long-standing friendship with Graham Nash, guiding us through the legendary musician’s evolving interest in art and the visual world. His works are intentionally imbued with intense emotionality. CM Earlier paintings: self-assurance or self-bewilderment? They’re not doing it as painters. O’BRIEN: And was Martin trying to go in a new direction as well? It’s a lot of effort, that one idea.
Instead, every time you start over from scratch. Which is kind of a weakness ’cause they’re a bit more obvious. AO That’s funny, I was just talking with Carroll Dunham about the same thing. WOOL: Are you using real posters, or are you reprinting them? O’BRIEN: I thought that was interesting. ” — Albert Oehlen. O’BRIEN: I guess it was kind of like what was going on in New York around the same time. Albert Oehlen has filled the Gagosian Gallery in Mayfair with big paintings of trees. You could tell that if I cared about colors I would have acted differently. They hide behind their invention. You might get bored. Songs happen in time, so what’s in the beginning becomes the frame.
In these two shows he abides by his observation. Ernst Oehlen and Julian Oehlen in Los Angeles, 2019.
Often, I have one recurring problem: how to make a painting that is entertaining – to me and to everyone else. I can’t explain in what sense — but anything that makes you think is relevant.
To me, it all fits together.
I did that for a year or two and it presented different problems, different challenges. O’BRIEN: But can you be an abstract painter and a bad painter? Or even Damien Hirst, whatever it is that he’s doing, it’s such a phenomenon, I don’t want to say it’s stupid . I didn’t see it as the root of techno, because techno didn’t exist at the time. . OEHLEN: That’s good. O’BRIEN: So when did the notion of bad painting come to your attention? They tried to be the German Wire. Christian Malycha The new paintings are quite unexpected! This post was written with the help of Alice Mahoney. I thought that since the eight “Elevator” paintings are about color, it would be interesting to have it as part of the group, at the end. These ten paintings evolved along the way. Judith Benhamou-Huet Reports 197 views. He was a special character — a bit cynical in his humor. Selected Interview: The rules of the game – artist Albert Oehlen – Interview, ArtForum, November 1994, by Diedrich Diedrichsen. And, I did my thing. How does it work or not work?” I didn’t even have to read much about it. What role does the application of color play in this? “They are more simple and more complicated now,” he says. Some might be in contradiction to other orders, but I will still try them. . So it had some influence on me. OEHLEN: Yeah. The series will be shown for the first time in late 2020, in an exhibition at Gagosian, London. As a kid, I was a fan of Francis Bacon. Despite the German artist’s avowed desire for critical distance (he recently declared in an interview that ‘there is no art that touches me […]. I thought it was bullshit. But I never played an instrument.
[laughs] In a way it was because I thought that art history went from figurative to abstract . . I like a story you told once that I tell students sometimes. JS: You have been interested in electronic music for a long time.
It was friendships, and not much more. I have one recurring problem: how to make a painting that is entertaining – to me and to everyone else, “I don’t intend to be cryptic or difficult,” he says at one point, “I am like I am. What’s the tie-in? O’BRIEN: Did being in Spain push you in the surrealist direction? His work is part of the permanent collections of the Tate in London and MoMA in New York. Would you dare to make a triptych? OEHLEN: Oh, yeah. OEHLEN: Georg Herold. Skarstedt Fine Art. I don’t know if you remember Brian Eno’s Oblique Strategies. O’BRIEN: My idea is that the one that’s chipping the most will go on the bottom. AO I’ve always been looking for trouble.
JS: Who are some of the contemporary painters you are interested in? I had this idea for years. AO Yes, I was in LA and started to paint in acrylics and watercolors.
I mean, it’s shrinking .
Yeah, just come down the stairs, and we’re by the bar.
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