Alexander Klar

The paintings and installations of Cornelia Baltes straddle the divide between abstraction and figuration. Her pictures are inspired by observations of mundane details - apparel, body parts, or facial expressions - that she pares down to simple lines and shapes. She often interrogates the painted pictures's function, by painting on the wall beyond the canvas, by hanging a picture in the middle of the room as an object in its own right or laying it our on the floor.

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, Büttner, 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.”

Richard Serra ( born November 2, 1938) is an American minimalist sculptor and video artist known for working with large - scale assemblies of sheet metal . [1] Serra was involved in the Process Art Movement. He lives and works in Tribeca , New York , and on Cape Breton Island in Nova Scotia . Serra had his first solo exhibitions at the Galleria La Salita, Rome, 1966, and in the United States at the Leo Castelli Warehouse, New York. The Pasadena Art Museum organized a solo exhibition of Serra’s work in 1970. Serra has since participated in Documentas 5 (1972), 6 (1977), 7 (1982), and 8 (1987), in Kassel, the Venice Biennales of 1984 and 2001, and the Whitney Museum of American Art's Annual and Biennial exhibitions of 1968, 1970, 1973, 1977, 1979, 1981, and 19 95.[57] Serra was honored with further solo exhibitions at the Kunsthalle Tübingen, Germany, in 1978; the Musée National d'Art Moderne, Paris, in 1984; the Museum Haus Lange, Krefeld, Germany, in 1985; and the Museum of Modern Art, New York, in 1986. From 1997 to 1998 his Torqued Ellipses (1997) were exhibited at and acquired by the Dia Center for the Arts, New York. In 2005 eight major works by Serra were installed permanently at Guggenheim Museum Bilbao. In the summer of 2007 the Museum of Modern Art pre sented a retrospective of Serra's work in New Y ork. Intersection II (1992 – 1993) and Torqued Ellipse IV (1998) were included in this show along with three new works.[59] The retrospective consisted of 27 of Serra's works, including three large new sculpture s made specifically for the second floor of the museum, two works in the garden, and Yearlier pieces from the 1960s through the 1980s