
The Bad Ones Don’t Deserve It
Albert Oehlen in conversation with Max Dax.
Gagosian is pleased to announce Endless Summer, an exhibition of new paintings by Albert Oehlen opening in Paris on October 20, 2025. The paintings explore the theme of the bather, a motif deeply embedded in French art history that captivated such artists as Pierre Bonnard, Paul Cézanne, Édouard Manet, and Pablo Picasso.
The bather has maintained a significant and diverse presence throughout the history of art, and in Endless Summer, Oehlen contributes to the tradition in characteristically expressive style. Presenting variations on a dark-haired female nude, he sometimes approaches, sometimes retreats from his ostensible subject, using it as a template for unbounded experimentation. While the woman’s shape is clearly legible in some paintings, in others it dissolves into pure gesture, shifting Oehlen’s project continually between representation and abstraction.
Neither directly observed nor wholly improvised, Oehlen’s recurring figure originates in Tramonto Spaventoso (Terrifying Sunset, 1940–49) by the Russian-born American modernist painter John Graham, whose work Oehlen discovered in the 1990s. Embellishing, reworking, and recontextualizing Graham’s image, the artist combines graphic gestures and “painterly” drips with surprising color combinations and textural obfuscations. The density of the compositions also varies—some are packed with formal incident, while others appear relatively sparse.
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Albert Oehlen in conversation with Max Dax.

On the occasion of Willem de Kooning: Endless Painting, curated by Cecilia Alemani and comprising paintings from 1944 through 1986 and two sculptures, the Quarterly revisits a conversation between Albert Oehlen and John Corbett from 2013. The pair reflect on de Kooning’s late work and its lasting influence on them.

The artist speaks with Mark Godfrey about his new paintings, touching on the works’ relationship to John Graham, the Rothko Chapel, and Leigh Bowery.

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

Albert Oehlen speaks to Mark Godfrey about a recent group of abstract paintings, “academic” art, reversing habits, and questioning rules.
This film by Albert Oehlen, with music by Tim Berresheim, takes us inside the artist’s studio in Switzerland as he works on a new painting.

Hans Ulrich Obrist interviews the artist on the occasion of his recent exhibition at the Serpentine Galleries, London.

The artist met with art historian Christian Malycha to discuss his newest paintings.

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

At the Palazzo Grassi, Venice, a career-spanning exhibition of paintings by Albert Oehlen, entitled Cows by the Water, went on view in the spring of 2018. Caroline Bourgeois, the curator of the exhibition, discusses how the show was organized around the artist’s relationship to music.