ART

Albert Oehlen - SEXE, RELIGION, POLITIQUE

Gagosian Gallery 2019 ISBN 9781938748677 Acqn 29681
Pb 30x30cm 32pp 16col ills £28
Text in French

Painted on aluminium sheets in oil and lacquer, these new works contain echoes of Oehlen's
previous series-crudely drawn figures, smears of artificial pigments, and combinations of various
rules and constraints-yet yield entirely new results. The paintings feature dynamic black lines and
forms over fields of bright egg-yolk yellow. Sometimes the black paint is viscous like tar, and at
others it is matte and opaque, as Oehlen seamlessly transitions between thick fluidity and sharp
angularity. The paintings' titles are as enigmatic as they are evocative, from King Inna The Jungle
and Walking Jewellery Store to Zungguzungguguzungguzeng (all 2018).

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Georg Baselitz – Devotion

Gagosian Gallery 2019 ISBN 9781938748646 Acqn 29810
Hb 25x31cm 172pp col ills £85

A pioneering Neo-Expressionist, Baselitz employs raw, painterly gestures to create visceral

compositions with an intense emotional charge. By continually reinterpreting artistic precedents-
his own previous works included-he has returned the figure to a central place in painting while
expanding the very definition of abstraction.

Baselitz's interest in portraiture emerges from his fascination with memory and its
inconsistencies, as well as his observation that every painting-even a portrait of another person-is
the artist's self-portrait. At the Kunstmuseum Basel, he saw Henri Rousseau's The Muse Inspires
the Poet (Marie Laurencin and Guillaume Apollinaire) (1909) and assumed that the depicted
couple was Rousseau and his wife-only to discover later that the painting shows the poet
Apollinaire and his muse, painter Laurencin. This realization gave rise to a new line of inquiry for
Baselitz. Over the past year, he has intensified his ongoing engagement with images of the past,
producing paintings and drawings based on artists' self-portraits. As he works, in paint or ink, he
recalls the effects of each portrait and captures them in his own unique style.

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Joe Bradley - Day World

Gagosian Gallery 2019 ISBN 9781938748776 Acqn 29809
Pb 30x31cm 96pp 60col ills £75

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Joe Bradley - Eric's Hair

Gagosian Gallery 2019 ISBN 9781938748769 Acqn 29813
Pb 29x31cm 100pp col ills £75

Weaving together both ironic and earnest cultural references and engagements with the tradition
and aesthetics of paint on canvas, Bradley's maverick oeuvre is built on a diverse and deadpan
visual language that defies easy categorization. In the new works, Bradley tempers the use of
colour in bold, primary swathes with approaches to form and surface that remain resolutely
contingent.

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Rachel Feinstein – Secrets

Gagosian Gallery 2019 ISBN 9781938748813 Acqn 29811
Hb 25x31cm 156pp 120col ills £110

In richly detailed sculptures and multipart installations, Feinstein considers the sumptuous
materiality of historical European luxury, updating its refined surfaces and edges with a gritty and
approximate excess. Borrowing freely from Baroque and Rococo sculpture, religious
iconography, Romantic landscapes, and mainstream media, she explores issues of taste and
desire, synthesizing visual and societal opposites such as romance and pornography, elegance
and kitsch, the marvellous and the utterly banal.

Secrets consists of new sculptures, wallpaper, and paintings in which Feinstein cannibalizes
notions of beauty, belief, and spectacle to reveal perfection as a form of burlesque. The Secrets
is a series of eight large-scale sculptures that reflects on the Victoria's Secret phenomenon, with
its trademark "Angels" in their jaw-dropping lingerie costumes-dressed as butterflies, firebirds,
baby dolls, snow queens, and more-strutting their stuff at the brand's annual fashion
extravaganza that is broadcast to millions of ogling fans worldwide. Feinstein's figures have been
scaled up in hard foam from small clay maquettes, then individual hues applied piece by piece in
hand-coloured epoxy resins.

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Jeff Wall
Gagosian Gallery 2019 ISBN 9781938748790 Acqn 29812
Hb 32x27cm 66pp 37ills 32col £75

From his pioneering use in the 1970s of backlit colour transparencies-a medium then
synonymous with advertising-to his intricately constructed scenes of enigmatic incidents from
daily life, literature, and film, Wall has expanded the definition of the photograph, both as object
and illusion.

The triptych I giardini/The Gardens (2017) was photographed in the gardens of the Villa Silvio
Pellico in Moncalieri, outside of Turin, Italy. Though Wall has made several works that combine
two or more images, this is the first in which the order, read from left to right, represents a
passage of time. It therefore has a narrative aspect absent from any previous picture group. The
three images-individually titled Appunto/Complaint, Disappunto/Denial, and Diffida/Expulsion
order-trace the relations between either two or four characters through three depicted moments.
A doubling effect occurs again in Pair of interiors (2018), a diptych showing either one or two
couples in a lamplit living room, and in Summer Afternoons (2013), which shows what appears to
be another equally introverted, younger couple in a sunny apartment. Each person appears in his
or her own picture, creating uncertainty about whether the diptych depicts one or more "summer
afternoons."

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Nate Lowman - Never Remember

Gagosian Gallery 2019 ISBN 9781938748745 Acqn 29814
Hb 34x28cm 72pp 38col ills £92

Lowman collects and transforms the detritus of contemporary American life, re-evaluating familiar
signs and symbols from print and electronic media as well as from street, home, and studio. In
the liminal space between original and copy, his paintings in oil and alkyd resemble a sort of
hybrid between the blurred Xerox image and a fresh tattoo, while his depictions of pop-culture
figures, such as Marilyn Monroe and Nicole Brown Simpson, act as unlikely hieroglyphs, standing
in for the mythologies that have built up around them. As Lowman's impulses oscillate between
additive and subtractive, print technologies and mass media take on the intimacy (and mortality)
of flesh.

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