Published on the occasion of the artistis recent one-person exhibition at New Yorkis Marian Goodman Gallery, this up-to-the-minute volume presents new, large-scale works by Gerhard Richter, most of which have never before been published. Four 2005 drawings are reproduced at 1:1 scale, along with more than 30 color reproductions of recent abstract paintings, a few double-page bleeds of patterned abstraction, one landscape and several studio views. Includes a substantial essay and an interview by the scholar Benjamin Buchloh, as well as a closing essay by Dieter Schwarz.
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Gerhard Richter was born in 1932 in Dresden, Germany. Since the early 1960s he has emerged as one of the essential painters of the postwar period, pioneering photorealism with paintings made from found photographs (amateur snapshots, advertisements and book and magazine illustrations) and then from his own photographs. His work has also profoundly engaged with and influenced such genres as Pop and abstract art. A retrospective of Richter's work was shown in 2001 at The Museum of Modern Art, New York. The exhibition was one of the largest ever organized there for a living artist, and traveled to The Art Institute of Chicago, the San Francisco Museum of Modern Art and the Hirshhorn Museum in Washington, D.C.
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2 of 3 people found the following review helpful:
5.0 out of 5 stars
if you know painting,
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This review is from: Gerhard Richter: Paintings 2003-2005 (Hardcover)
Richter has sought a long and arduous path as an artist. He has never claimed to be a painter's painter, his creativity continually betrays it, instead he takes a concpept, a single colour sometimes often devoting a year's work to "Grey",but all its manifestations, spatialities, and genres; or a technique is exploited as herein, as "squiggee flat" across a surface and sees where it takes him, light does peek thru, but controlled and inhumanized, it's difficult to discover Richter's signature here, or perhaps you can, who else can render these provocative paintings, you sense the power of mechanical industry of commerce, as you see the paint merely manipulated in one direction,inevitably dehumanized; Deleuze might say Richter should exhibit more what is human, perhaps his voice has been stilled, silenced;"squiggee" has an import, a content of the serial,but only to a degree, it has some controlled civilized element of spontanaeity; for once you have one, all you can do is create another, like Rothko, he can only(only did) change- transform the colour, the dimensions,the volumes; the content hovers simultaneously within the same narrow existential spaces, withdrawn crevices of the mind of experience of isolation.But you know the painting the work is complete, that is what is most powerful in Rothko,as in Richter; it is complete,never overdetermined, you then complete the work yourself, interpreting/participaing in what is there or not there; For Richter technique seems to be a focus,very similar to Jasper Johns,who also tried incredible numbers of technique, lithographs,assemblage,combines,serialization for technique forces you out of yourself, are we to find then a kind of false subjectivity, a denial of it, with repetition, such an ugly word in late capitalism, yet the automata of Richter is compelling, devoted to a cause of aesthetic protubrance, I wonder what he thinks he discovers at the end, he simply moves on, but when moving he sticks, he contemplates, he inhabits moments in his creations, so process again is the important factor; we are past the misplaced liberalism, the shibboleths of "my art doesn't express anything", a child's mind created this thought, one confused with the forever opaque-nesses befalling the state of the globe. I like Richter very much, I have followed his art and he is a richly diverse alter-ego to the Joseph Beuys anarcho-aesthic tyranny. You wonder if you are cashing in on yourself the more you venture to the next aesthetic station. . . .
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