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  • Provenance

    Galerie Barbel Grasslin, Frankfurt

  • Exhibited


    Hannover, Kestner Gesellschaft, Albert Oehlen: Terminale Erfrischung: Computercollagen und Malerei, January 13 - March 11, 2001; Musée cantonal des Beaux-Arts Lausanne, Albert Oehlen: Peintures = Malerei, 1980-2004, June 18 - September 5, 2004; Salamanca, Domus Artium 2002, Albert Oehlen: Peintures = Malerei, 1980-2004, December 9, 2004 - January 30, 2005; Nuremberg, Kunsthalle Nürnberg, Albert Oehlen: Peintures = Malerei, 1980-2004, April 28 - June 26, 2005

  • Literature


    C. Ahrens and C. Albrecht Haenlein, eds., Albert Oehlen: Terminale Erfrischung: Computercollagen und Malerei, Berlin, 2001, pl. 45 (illustrated); R. Biel, Albert Oehlen: Peintures/Malerei, 1980-2004, Zurich, 2004, p. 112 (illustrated); A. Gingeras and B. Schwabsky, The Triumph of Painting, 2005, p. 185

  • Catalogue Essay


    In the universal search for a standard there is something tragic, a sort of cosmic sadness. The belief in the ability to set loose grim analyses in brackets on the basis of phantom inspirations is marked by this: I am on this earth only to serve as material for doctors, cannon fodder, horses and students (of horses). The promise to take me to the circus or to play cook is the only happy thing that can happen to me now, a decoy, found on the miserable façade of things, their inadequacy long since established. New hope for the search of something concrete, something that could be so true and at the same time universal that it could sugar-coat my pills. It is like waving in houseboats and small ships in order to reap the distance in nautical miles. The fruit is blind. The tree is the seeing one. The fire is never permitted to, and is never going to go out. A world of insanity, of despair, of the measurement of decline, of genuine meteoric material, for many the primordial stone of the losers. If sensation is meaning, then the representation is pictorial and the mental treatment appears in episodes.Albert Oehlen taken from Albert Oehlen: Inhaltsangabe, Berlin, 2000, p. 101

  • Artist Biography

    Albert Oehlen

    Albert Oehlen is a German contemporary artist whose work explores the capabilities and failures of painting in the age of postmodernism. His deconstructed artworks reduce painting to a discordant mixture of its constituent elements—color, gesture, motion, and duration—and celebrate the resulting disharmony as an artistic expedition to the frontiers of the abilities of painting. Oehlen began his career in the art scenes of Cologne and Berlin, becoming associated with the Junge Wilde artists who sought to create works that defied classification and disrupted the artistic status quo. He has carried this sense of rebelliousness into his mature career with works that incorporate digital technologies as well as more traditional media. Oehlen’s paintings are marked by inherent, gleeful contradictions, always wielded with a cavalier confidence in the artist’s prowess – his uncooperative fusions of abstraction and figuration, for example, expose the inefficiencies of each art mode and explore the function of painting as much as its meaning.

    Oehlen has attracted critical praise befitting the innovative nature of his work, and he has been the subject of several major exhibitions at institutions such as the Mumok, Vienna and the New Museum, New York. He lives and works between Bühler, Switzerland.

     
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135

Titankatze Mit Versuchstier (Titanium Cat with Laboratory Tested Animal)

1999

Oil on canvas.

43 x 118 in. (109.2 x 299.7 cm).
Signed, titled, and dated "A. Oehlen 99 Titankatze Mit Versuchstier" on the reverse.

Estimate
$250,000 - 350,000 

Sold for $265,000

Contemporary Art Part I

15 May 2008, 7pm
New York