http://www.olivercolegallery.com/

Oliver Cole Gallery, 2750 NW 3rd Avenue, Miami, FL (2026)

08/14/2026

JULIAN OPIE (British), B. 1958

BELGIUM 3, 2021
Corian shelves, acrylic sculptures
26 3/4 × 5 3/4 × 2 in | 67.9 × 14.6 × 5.1 cm
L. Edition

Part of the upcoming group exhibition

BETWEEN YOU AND ME
NOTHING WE SEE EXISTS ENTIRELY ON ITS OWN

from August 25-October 10

For inquiries and to request a catalog, contact us
[email protected]

Julian Opie is a contemporary British artist known for his distinctive depictions of figures, portraits, and landscapes.

The highly stylized treatment Opie gives his subjects—whereby features are created by thick black outlines and filled in with solid areas of flat color—is a blend of Pop Art and Minimalism with a wholly contemporary sensibility.

“The process of reading things as simulations but knowing at the same time that they are real is quite central to my work,” Opie has observed of his own art.

Born in 1958 in London, United Kingdom, Opie studied with Michael-Craig Martin at Goldsmiths in London during the early 1980s.

His earliest works consisted of painted steel sculptures exploring the relationship between visual and spatial observation. He is part of the group know as New British Sculpture, alongside artists such as Anish Kapoor and Tony Cragg.

08/14/2026

JULIAN OPIE (British), B. 1958

TELEPHONE , 2018
Patinated black bronze statuette
20 7/10 × 7 1/10 × 4 7/10 in | 52.7 × 18.1 × 12 cm
L. Edition

Part of the upcoming group exhibition

BETWEEN YOU AND ME
NOTHING WE SEE EXISTS ENTIRELY ON ITS OWN

from August 25-October 10

For inquiries and to request a catalog, contact us
[email protected]

Julian Opie is a contemporary British artist known for his distinctive depictions of figures, portraits, and landscapes.

The highly stylized treatment Opie gives his subjects—whereby features are created by thick black outlines and filled in with solid areas of flat color—is a blend of Pop Art and Minimalism with a wholly contemporary sensibility.

“The process of reading things as simulations but knowing at the same time that they are real is quite central to my work,” Opie has observed of his own art.

Born in 1958 in London, United Kingdom, Opie studied with Michael-Craig Martin at Goldsmiths in London during the early 1980s.

His earliest works consisted of painted steel sculptures exploring the relationship between visual and spatial observation. He is part of the group know as New British Sculpture, alongside artists such as Anish Kapoor and Tony Cragg.

08/14/2026

JULIAN OPIE (British), B. 1958

BELGIUM 2, 2021
Acrylic figues on Corian shelf
26 3/4 x 23 1/2 x 4 in
67.9 x 59.7 x 10.2 cm
AP

Part of the upcoming group exhibition

BETWEEN YOU AND ME
NOTHING WE SEE EXISTS ENTIRELY ON ITS OWN

from August 25-October 10

For inquiries and to request a catalog, contact us
[email protected]

Julian Opie is a contemporary British artist known for his distinctive depictions of figures, portraits, and landscapes.

The highly stylized treatment Opie gives his subjects—whereby features are created by thick black outlines and filled in with solid areas of flat color—is a blend of Pop Art and Minimalism with a wholly contemporary sensibility.

“The process of reading things as simulations but knowing at the same time that they are real is quite central to my work,” Opie has observed of his own art.

Born in 1958 in London, United Kingdom, Opie studied with Michael-Craig Martin at Goldsmiths in London during the early 1980s.

His earliest works consisted of painted steel sculptures exploring the relationship between visual and spatial observation. He is part of the group know as New British Sculpture, alongside artists such as Anish Kapoor and Tony Cragg.

08/12/2026

DOUGLAS GORDON (Scottish), B. 1966

SELF PORTRAIT OF YOU AND ME (MARILYN A), 2023
Burned print on paper, Dibond mirror. Dibond backplate, aluminum frame with plexiglass
47 1/4 x 47 1/4 in
120 x 120 cm
Limited Edition

Part of the upcoming group exhibition

BETWEEN YOU AND ME
NOTHING WE SEE EXISTS ENTIRELY ON ITS OWN

from August 25-October 10

For inquiries and to request a catalog, contact us
[email protected]

Throughout his diverse practice—spanning photography, video, performance, sound, and text-based work—Douglas Gordon recontextualizes familiar images and artworks, distorting time, language, and other aesthetic aspects to challenge viewers’ perception, expectation, and memory.

Gordon draws on sources ranging from Hollywood films to classical literature and folklore; he mines these productions for new meanings and explores the binaries within them.

One of the artist’s most famous pieces, 24 Hour Psycho (1993), slows down the famous Alfred Hitchcock film to play over the course of 24 hours rather than its original 110-minute runtime.

Between Darkness and Light (After William Blake) (1997) is a two-channel video installation that pairs one film about divine revelation with another about satanic possession.

08/12/2026

DOUGLAS GORDON (Scottish), B. 1966

SELF PORTRAIT OF YOU AND ME (MARILYN B), 2023
Burned print on paper, Dibond mirror. Dibond backplate, aluminum frame with plexiglass
47 1/4 x 47 1/4 in
120 x 120 cm
Limited Edition

08/11/2026

MEL BOCHNER (American), 1940-2025

AMAZING, 2022
Etching in 18 colors
36 x 27 1/2 in
91.4 x 69.8 cm
Signed and numbered in pencil

Part of the upcoming group exhibition
from August 25-October 10

For inquiries and to request a catalog, contact us
[email protected]

Mel Bochner is a central figure in the history of Conceptual Art, recognized as one of the first artists to introduce language into the visual field as a primary medium. Emerging in the 1960s alongside artists like Sol LeWitt and Robert Smithson, Bochner’s work challenged the traditional boundaries of painting and sculpture by prioritizing the idea—the system—over the purely aesthetic object.
Bochner’s practice is a rigorous investigation into how we perceive and categorize the world. His work often centers on the friction between thought and sight, exploring how language, numbers, and measurements translate (or fail to translate) human experience. He is perhaps best known for his “Thesaurus” paintings, where he utilizes colorful, high-texture palettes to list synonyms for common words, transforming the mundane into a vibrant, psychological landscape that explores the weight and nuance of communication.

Bochner’s early career was marked by his groundbreaking exhibition Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art (1966), which is widely considered the first truly Conceptual Art exhibition. Since then, his work has evolved to include large-scale wall drawings, photography, and painting, consistently questioning the relationship between the abstract system (mathematics, grammar) and the physical reality it attempts to describe.

08/11/2026

MEL BOCHNER (American), 1940-2025

Thanks, 2015
Etching
22 × 18 in | 55.9 × 45.7 cm
Signed and numbered in pencil

Part of the upcoming group exhibition
from August 25-October 10

For inquiries and to request a catalog, contact us
[email protected]

Mel Bochner is a central figure in the history of Conceptual Art, recognized as one of the first artists to introduce language into the visual field as a primary medium. Emerging in the 1960s alongside artists like Sol LeWitt and Robert Smithson, Bochner’s work challenged the traditional boundaries of painting and sculpture by prioritizing the idea—the system—over the purely aesthetic object.
Bochner’s practice is a rigorous investigation into how we perceive and categorize the world. His work often centers on the friction between thought and sight, exploring how language, numbers, and measurements translate (or fail to translate) human experience. He is perhaps best known for his “Thesaurus” paintings, where he utilizes colorful, high-texture palettes to list synonyms for common words, transforming the mundane into a vibrant, psychological landscape that explores the weight and nuance of communication.

Bochner’s early career was marked by his groundbreaking exhibition Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art (1966), which is widely considered the first truly Conceptual Art exhibition. Since then, his work has evolved to include large-scale wall drawings, photography, and painting, consistently questioning the relationship between the abstract system (mathematics, grammar) and the physical reality it attempts to describe.

08/11/2026

MEL BOCHNER (American), 1940-2025

BLAH BLAH BLAH, 2022
Silkscreen on Lanaquarelle paper with diamond dust
62 x 46 1/2 in
157.5 x 118.1 cm
Limited Edition

For inquiries and to request a catalog, contact us
[email protected]

Mel Bochner is a central figure in the history of Conceptual Art, recognized as one of the first artists to introduce language into the visual field as a primary medium. Emerging in the 1960s alongside artists like Sol LeWitt and Robert Smithson, Bochner’s work challenged the traditional boundaries of painting and sculpture by prioritizing the idea—the system—over the purely aesthetic object.
Bochner’s practice is a rigorous investigation into how we perceive and categorize the world. His work often centers on the friction between thought and sight, exploring how language, numbers, and measurements translate (or fail to translate) human experience. He is perhaps best known for his “Thesaurus” paintings, where he utilizes colorful, high-texture palettes to list synonyms for common words, transforming the mundane into a vibrant, psychological landscape that explores the weight and nuance of communication.

Bochner’s early career was marked by his groundbreaking exhibition Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art (1966), which is widely considered the first truly Conceptual Art exhibition. Since then, his work has evolved to include large-scale wall drawings, photography, and painting, consistently questioning the relationship between the abstract system (mathematics, grammar) and the physical reality it attempts to describe.

07/27/2026

AI WEIWEI
“To Be Looked At...”
Aluminium Sculpture
5.98in × 13.78in × 6.89in
Limited Edition
Signed

For inquiries and catalog, contact us
[email protected]

Ai Weiwei turns the camera on collectors with an edition of sculptures in cut aluminium.
Surveillance and Weiwei have history. Drawing together personal experiences and societal shifts, he notes that security is often used as a guise for control and that, because of this, surveillance represents power.
To Be Looked At… takes the form of a bank of CCTV cameras, pointing in multiple directions for uninterrupted vision. The sculpture can be mounted on a wall or displayed on a horizontal surface.
Installed in homes around the world, the cameras and their pseudo-surveillance capture Weiwei’s wry humour. At the same time, they encapsulate an experience that has become an inescapable part of being alive.

Oliver Cole Gallery

08/14/2026

08/14/2026

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07/27/2026

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