This book documents two new bodies of work; a series of large four-part aluminium panel paintings incorporating Oehlen's recurring motif of trees and a series titled Finger Paintings, in which colour-blocked advertisements are an extension of the canvas, providing fragmented, ready-made surfaces for Oehlen's visceral markings, made with his hands as well as with brushes, rags, and spray cans. Both series were exhibited at Gagosian Gallery, Los Angeles, in summer 2014.

Volume 79 of the influential international art journal "Parkett" features Jon Kessler, Marilyn Minter and Albert Oehlen. In the tinkered gadgetry of Kessler's retro sci-fi installations, we peek through surveillance cameras to see our own image among his analog programs crammed with detritus of all kinds. Kessler's vista of (d)evolved cyberstuff is in a manic state of accumulation, as this data-diving artist masters the ecology of pure information. Within Marilyn Minter's fetishistic, flawless pictures, we find a painter obsessed with the clear articulation of magnified sweat beads and pore-smeared glitter. In each successive lip-smacking painting, Minter sets out to perfect beauty's disguise, affirming both her pleasure in fashion imagery, and an appreciation of its vulgar mishaps--say, a drag queen's eyelashes clumped together with too much mascara. According to essayist John Kelsey, Albert Oehlen's collage-paintings "seem almost bored of their own shock-value." And yet this artist, one of the most significant German painters of the past 20 years, can make boredom look like a rigorous, if not delirious experiment. Also featured: Spencer Finch, Gelitin and Mark Wallinger, as well as essayists Paul Bonaventura, Mark Godfrey, Glenn O'Brien, Katy Siegel, Andrea Scott and Pamela Lee, to name a few.

This multimedia boxed set presents a sweeping look at work by pioneering German painter Albert Oehlen (b. 1954), one of the most energetic and significant artists working today. Deeply influenced by literature, music, film, and graphic design, Oehlen's paintings are the result of a complex layering of methods, subject matter, and viewpoints. This distinctive set contains a catalogue of the winter 2016--17 exhibition at the Cleveland Museum of Art as well as an anthology of texts and images edited by Christopher Williams, a poster, and a vinyl record with a new work by composer and musician Michael Wertmuller, reflecting Oehlen's singular approach to art-making and the collaborative nature of this publication. Distributed for the Cleveland Museum of Art Exhibition Schedule: Cleveland Museum of Art (12/04/16-03/12/17)

The paintings of Albert Oehlen live by audacious strategies, by questioning the image and the rules of abstraction, and by an openness and beauty often reached through the unlikeliest of means. In this expansive monograph, we meet the full range of Oehlen's artistic thoughts and approaches: paintings that integrate mirrors, paintings that are executed strictly in primary colors or only in gray, heavily pixelated paintings produced with the help of one of the first personal computers. We find collaged fragments of garish poster ads on canvases that transforming screaming slogans into abstract elements, charcoal drawings the size of a wall, finger paintings, and paintings in which black treelike silhouettes contort themselves into a lexicon of abstract forms. Throughout, Oehlen transforms the conceptual into the compositional, at once invigorating and challenging the viewer. Revising and updating TASCHEN's previous Collector's Edition, this revelatory survey explores Oehlen's trajectory from his early days up to the present. It features more than 400 paintings as well as insightful commentaries and interviews, covering Oehlen's different work stages and approaches. Roberto Ohrt's essay takes us back to the special vibe of the early 1980s where Oehlen worked alongside Kippenberger, Buttner, and others, part of a scene that painted quickly and close to the pulse of time. Oehlen discusses his computer paintings with John Corbett, and follows up on his more recent work, his thoughts on art, and his day in the studio in a lengthy conversation with Alexander Klar. Together with a collection of shorter texts and statements, this brings us close to the ideas of an artist who has been dubbed "the most resourceful abstract painter alive."