R
Mar 12–Apr 23, 1989

Georg Herold, Albert Oehlen, Christopher WoolGeorg Herold, Albert Oehlen, and Christopher Wool

Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Electrification, 1988.

  • Georg Herold, Electrification, 1988.

  • Georg Herold, It’s More The Strong Theory Than The Attraction, 1988.

  • Georg Herold, Mother’s Hand, Watch Out The Eye, Installation View, 1986.

  • Georg Herold, Mother’s Hand, Watch Out The Eye, 1986.

  • Albert Oehlen, Untitled, 1989.

  • Albert Oehlen, Untitled, 1989.

  • Albert Oehlen, Untitled, 1989.

  • Albert Oehlen, Untitled, 1989.

  • Albert Oehlen, Untitled, 1989.

  • Christopher Wool, Untitled (P85), 1989.

  • Christopher Wool, Untitled (P86), 1989.

  • Christopher Wool, Untitled (P88), 1989.

  • Christopher Wool, Untitled (P89), 1989.

  • Christopher Wool, Untitled (P90), 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • Georg Herold, Albert Oehlen, and Christopher Wool, Installation View, 1989.

  • An exhibition of new work by German artists Georg Herold and Albert Oehlen and New York artist Christopher Wool. All three of these artists, to varying degrees, question the traditionally high status and meaning of art objects. These artists exaggerate and rely on Art’s preordainment to validate their absurdly symbolic and “expressive” works of art. Oehlen’s paintings, Herold’s sculptures, and Wool’s paintings share an irreverent attitude towards different yet equally high-minded and serious subjects and institutions: Oehlen’s concerns are the validity of any degree of Expressionism and the meaning of being “German”; Herold’s are the explanatory seduction of diagrams and their potential as political metaphor; and Wool’s are painting’s tradition as the primary artistic mode and act of communication and expression.

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