Galerie Max Hetzler, Berlin
Acquired directly from the above by Wim Beeren for the Peter Stuyvesant Collection in April 2000

Colour: The colours in the catalogue illustration are fairly accurate, although the overall tonality is brighter and more luminous in the original. Condition: This work is in very good condition. Under close examination there is a very faint rub mark adjacent to the centre of the right edge in the white section of paint, and one approximately 90 cm beneath this. No restoration is apparent when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"The template for these technological replicants is the florid gestural language of Abstract Expressionism, that celebration of nature, spririt, and the very stuff of paint itself. Abstract Expressionism is the apostheosis of paintings intimate, physical relationship with the hand the mind and the body of the artist. Working in the surrogate space of the screen, Oehlen occupies and animates these fictional – and entire✱ly romantic – oppositions between man and machine. The results, far from being sterile orℱ soulless (a criticism that is often also misguidedly levelled at electronic music), are extraordinarily lyrical and beautiful works that are as 'painterly' as anything he has produced."

 

Martin Clark, 'Abstract painting must die now' in Exhibition Catalogue, London, Whitechapel Gallery, Albert Oehlen: I Will Always Champion Good Painting, 2006, p. 56