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Curator and historian, gallerist and writer: Klaus Kertess has long
been a decisive and forward-thinking presence in the art world. He
founded the Bykert Gallery in 1966, where he represented artists
including Chuck Close, Ralph Humphrey, Brice Marden and Dorothea
Rockburne; three decades later, he curated the 1995 Whitney
Biennial, the follow-up to the famously political 1993 iteration.
"What is being proposed here," he wrote in a catalogue essay for
the 1995 exhibition, "is not a return to formalism but an art in
which meaning is embedded in formal value. An acknowledgment of
sensuousness is indispensable--whether as play or sheer joy or the
kind of subversity that has us reaching for a rose and grabbing a
thorn." The art world has changed considerably from the relatively
convivial world of the 60s to today's globalized milieu, but
Kertess has been a constant throughout the years, curating shows of
provocative new work and writing critical essays on artists whose
work challenges and engages him, while also maintaining a vital
literary sideline (his short stories are collected in 2000's "South
Brooklyn Casket Company"). This volume collects Kertess' critical
works from the past 30 years, including meditations on Agnes
Martin, Joan Mitchell, John Chamberlain, Vija Celmins, Chris Ofili
and Matthew Richie. With each essay accompanied by full-color
reproductions of works discussed, "Seen, Written" provides a
priceless opportunity to see art through the eyes of a lifelong
viewer.
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Paul Mogensen (Hardcover)
Paul Mogensen; Interview by Hans Ulrich Obrist; Text written by Lynda Benglis, Nancy Princenthal, Klaus Kertess, …
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R1,460
R1,219
Discovery Miles 12 190
Save R241 (17%)
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Ships in 12 - 17 working days
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This is the definitive monograph of Oehlen's work to date. This XL
retrospective explores Albert Oehlen's entire career
chronologically and examines his creative process via in-depth
texts. Limited to 1,000 copies, each numbered and signed by the
artist.Albert Oehlen seeks the limits of painting in his work,
challenging viewers to abandon their instinctive expectations. His
early work in the late 1970s - when painting was decidedly out of
fashion - was associated with a so-called 'bad painting' movement,
in that it aimed at challenging ideas about what makes a painting
'good' or 'bad'; a recent exhibition in London was, somewhat
ironically, entitled 'I Will Always Champion Good Painting'. With
an approach he describes as 'post-non-representational', Oehlen
uses painting not only as a way to convey meaning, but also as a
means of exploring the function a painting can serve - often a
painting's title itself gives the work an entirely new dimension.
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 look at art.
Combining subtlety and sophistication with chaos and brutality,
Oehlen has left an indelible mark on contemporary painting.This XL
monograph explores all groups of Oehlen's work chronologically via
genre-oriented approach, such as mud-colored paintings, mirror
paintings, computer paintings, and so forth. Like a series of
interlocking episodes, the chapters of the book draw the reader
into a complex drama of constantly evolving themes. In-depth texts
get to the root of Oehlen's creative process, and an exhaustive
bibliography and biography round out this comprehensive study.
While Oehlen fans will rejoice at the publication of this
breathtaking book, no one with an interest in contemporary art can
afford pass up this unique opportunity to discover Oehlen's work.
And to anyone who says painting is obsolete: we beg to differ. This
book is also available in an Art Edition, limited to 100 copies and
with an original artwork by Albert Oehlen.
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