Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"All I am trying to do with a picture is to bring the most different and the most contradictory things together with the greatest possible freedom, alive, and capable of living on." Gerhard Richter, excerpted from Gerhard Richter: Overpainted Photographs, published by Hatje Cantz.
Edited by Iwona Blazwick, Janna Graham, Sarah Auld. Introduction by Iwona Blazwick. Text by Gerhard Richter, Armin Zweite, Jean-FranÁois Chevrier, Benjamin H.D. Buchloh, Lynne Cooke, Helmut Friedel, Adrian Searle.
Pbk, 6 x 8.20 in. / 132 pgs. | 9/30/2012 | In stock ISBN 9780854882052 | $27.00
Patterns are ever-present elements in our daily lives. But despite their ubiquity, patterns by themselves seem always to remain at the edge of our consciousness, begging the question of what their place really is, and what importance they might carry—in art, as well as popular culture.
Published by D.A.P./Distributed Art Publishers. Edited by Helmut Friedel.
This monumental and comprehensive publication maps the ideas, processes, life and times of one of the most important painters of our time. Conceived and closely edited by Gerhard Richter himself, Atlas cuts straight to the heart of the artist’s thinking, collecting more than 5,000 photographs, drawings and sketches that he has compiled or created since the moment of his creative breakthrough in 1962. Year by year, the images closely parallel the subjects of Richter’s paintings, revealing the orderly but open-ended analysis that has been so central to his art. Offering invaluable insight into Richter’s working process, this encyclopedic new edition, which completely revises and updates the rare, out-of-print 1997 edition and includes 147 additional plates, features 780 multi-image panels, each reproduced full page and in full color. Richter redefined the terms of contemporary painting as he looked to photography for a way to release painting from the political and symbolic burdens of Socialist Realism and Abstract Expressionism. From pictures of family and friends to images from the mass media, Richter’s photographs--sometimes found, sometimes original--have provided the basis for many of his paintings, often re-emerging in a luminous, monochromatic palette, and falling ambiguously between documentary and historical painting.
Published by HENI Publishing. Text by Hans-Ulrich Obrist, Robert Storr, Paul Moorhouse, Siri Husvedt, Stefan Gronert, Christine Mehring, Dorotheé Brill, Uwe M. Schneede, Botho Strauss, Aline Guillermet, Achim Borchardt-Hume.
This extraordinary six-volume slipcased production offers a comprehensive account of a largely unexplored (though immensely popular) aspect of the practice of Gerhard Richter: the Overpainted Photographs series, which he began creating in the mid-1980s and still engages with today. These works begin with informal photographs—often snapshots of the artist’s personal life—which are subsequently obscured under layers of paint. Richter’s process often transforms their visual meaning entirely, creating a fascinating and dreamlike body of work. The first volume contains essays including newly commissioned texts on the Overpainted Photographs by acclaimed American art critic Robert Storr, Hans Ulrich Obrist, curator, critic and co-director of Serpentine Galleries, Paul Moorhouse of the National Portrait Gallery, Stefan Gronert, Christine Mehring and Dorotheé Brill alongside important reprinted texts on the subject, including essays by Siri Husvedt, Uwe M. Schneede and Botho Strauss.
Born in Dresden, East Germany, in 1932, Gerhard Richter migrated to West Germany in 1961, settling in Düsseldorf. He has exhibited internationally for the last five decades, with retrospectives in New York, Paris and Düsseldorf. He lives and works in Cologne.
Published by Dominique Lévy. Text by Dietmar Elger, Hubertus Butin, Jaleh Mansoor.
In 1966, German artist Gerhard Richter (born 1932) embarked on a series of paintings: uniform grids of colored rectangles or squares in a chart configuration against a white background, inspired by industrially produced paint chips. With the exception of only one other painting, this marked the artist’s first use of color and a turning point in his career. This comprehensive catalogue is the first publication dedicated to the original Colour Charts, both those created in 1966 and those made in the ‘70s after a five-year hiatus. Featuring new essays by Dietmar Elger, head of the Gerhard Richter Archive; Hubertus Butin, curator and author of several key texts on Richter; and Jaleh Mansoor, professor at the University of British Columbia, whose research concentrates on modern abstraction and its socioeconomic implications, this is a handsome tribute to one of Richter’s most groundbreaking bodies of work.
More than 50 years ago, Gerhard Richter began mounting parts of his extensive collection of pictorial material on cardboard, hoping to create order and clarity among his archive of photos, newspaper clippings, sketches, drawings, construction plans, room design, collages, overpainted photographs and drafts of paintings. Richter eschewed chronology--his real interest was in iconographical and typological order. A work in progress, this Atlas soon developed into an independent Gesamtkunstwerk mirroring biographical and historical facts--an artistic cosmos of great autonomy, a source of all of his thought and creation. The artist's book has become an important genre for Richter, and in this large-format, four-volume edition, he has not only reproduced Atlas, but rearranged it. His decision to show all of his plates at a scale of 1:2 makes the monumental archive--with more than 5,000 images--visible in all its details for the first time. Richter himself has redefined the color of his plates, piece by piece, through several correction phases, rendering this epic work accessible in a stunning new publication. Gerhard Richter (born 1932) was born in Dresden, in East Germany. He migrated to West Germany in 1961 and held his first solo exhibition in 1963. Richter's amazingly prolific multimedia output--from photo-paintings, to drawings, to photographs, to landscapes, to portraits, to sculptures--has been exhibited internationally for the last five decades. The artist lives and works in Cologne, Germany.
Gerhard Richter’s (born 1932) 2014 series Abstrakte Bilder 937/1–4, known as the Auschwitz Cycle, are based on four photographs that prisoners took of an execution in Birkenau concentration camp in 1944. These images have preoccupied Richter for years, and making photos of details of works that are important to the artist has long been crucial for his working method. This book arose as a consequence of the artist’s photographic engagement with the Auschwitz Cycle. For this volume, Richter photographed numerous details and laid them out on tables in his atelier. He then chose 93 photos which he arranged, cut as full pages, as single or double pages. The flow and dramaturgy of the book were created following personal choices rather than a specific concept.
Published by D.A.P./TATE. Edited by Nicholas Serota, Mark Godfrey. Text by Achim Borchardt-Hume, Dorothée Brill, Rachel Haidu, Mark Godfrey, Christine Mehring, Camille Morineau. Interview by Nicholas Serota.
First published on the occasion of the major retrospective exhibition that opened at Tate Modern in 2011, Gerhard Richter: Panorama is the most complete overview of the artist’s entire career to date. This stunningly illustrated survey encompasses works from the late 1950s to the present—photo-paintings, abstractions, landscapes, seascapes, portraits, color charts, grey paintings, glass and mirror works, sculptures, drawings and photographs—providing the definitive account of Richter’s achievements. It also includes studio photographs, archival images and texts by an array of international critics and curators. This expanded edition of Panorama includes a new text by Mark Godfrey that covers works made since the 2011 exhibition, including the Strip, Flow and Birkenau paintings, as well as an updated chronology. With more than 300 illustrations, and an interview between Richter and Nicholas Serota, Director of Tate, this book remains the most comprehensive survey of one of the world’s pre-eminent contemporary artists. Born in Dresden, East Germany, in 1932, Gerhard Richter migrated to West Germany in 1961, settling in Düsseldorf. He has exhibited internationally for the last five decades, with retrospectives in New York, Paris and Düsseldorf. He lives and works in Cologne.
Published by Hatje Cantz. Edited with text by Dietmar Elger.
This volume comprises the fourth installment in this ambitious publishing project. The oeuvre of Gerhard Richter (born 1932) comprises in excess of 3,000 individual works. Over a period of five decades he has created a stylistically heterogeneous, complex body of work that testifies to his status as the most important living artist of our time. The first volume of this catalogue raisonné was released on the occasion of the artist's 80th birthday in February 2012. Dietmar Elger, director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden, has spent years researching and preparing this latest publication. Aside from the richly colored illustrations, many of them full-page, Gerhard Richter: Catalogue Raisonné, Volume 4 includes full technical details, information about the artist's handwritten notes and the provenance, bibliography and exhibitions of each individual work. This information is supplemented by commentary, quotes and comparison images.
Published by Moderne Kunst Nürnberg. Text by Thomas Heyden, Eva Kraus, Angelika Nollert.
Thanks to a recent gift from the private collection of Ingrid and Dr. George Böckmann, the Neues Museum in Nuremberg now boasts the world's third-largest collection of works by Gerhard Richter (born 1932). This monograph celebrates the Richter pieces newly added to the Neues Museum collection, and is published to accompany an exhibition, designed by the artist himself, of 28 of these paintings made between 1957 and 2003. The works included in this volume are representative of Richter's famously diverse range of favored subjects and techniques, comprising a thorough survey of the artist's decades-long exploration of the medium of painting. Notable works reproduced include "Forest Piece" (1965), a blurred snapshot painting, "Six Colors" (1966), a gridded color-panel abstraction and "Blanket" (1988), an overpainted version of "Hanged" from Richter's legendary cycle on the Red Army Faction.
Published by Hatje Cantz. Edited with text by Hans Ulrich Obrist. Text by Georges Didi-Huberman, Dietmar Elger, Michiko Kono, Dieter Schwarz.
Over the 60 years of his artistic career, Gerhard Richter (born 1932) has produced a standard-setting oeuvre whose thematic and stylistic diversity has no equal among the art of our time. This extensive monograph is the first to present the complete range of the numerous works Richter realized as series, cycles and spaces. It includes figurative paintings, such as landscapes, still lifes and portraits, many of which are based on photographs, such as the series S. and Child, a personal and intimate variation on the traditional subject of the Madonna and Child. It also features abstract works, for which Richter draws from a changing repertoire of forms and colors to produce both small and monumental paintings.
Published by Gregory R. Miller & Co.. Text by Dieter Schwarz. Interview by Hans Ulrich Obrist.
Gerhard Richter (born 1932) is predominantly known for his paintings and drawings, which strike a playful balance between photo-realism and abstraction, while at once delving into often controversial political commentary. His works have explored a multitude of media, from photo-based, monochrome and brightly colored paintings to ink-doused papers and thin, multicolored strips of pure pattern. Beyond his artistic works, and particularly in recent years, Richter has published extensively on his vision of art and artistic values: in letters, interviews, public statements, excerpts and articles, Richter has established himself as a brilliant advocate of contemporary painting. Richter has also increasingly explored the possibilities of the book as medium in a series of extraordinary artist's books. Gerhard Richter: Books takes an in-depth look at his work in this medium. It features a book-length interview with the artist by internationally renowned art critic and historian Hans Ulrich Obrist, who walks us through the Richter archive and discusses the work with the artist himself, affording the reader an entirely new perspective on his works. The book also includes a new text by Kunstmuseum Winterthur director Dieter Schwarz.
Gerhard Richter Archiv, Staatliche Kunstsammlungen Dresden Vol 13
Published by Walther König, Köln. Edited by Dietmar Elger.
Reproducing a recently found 1962 notebook, this small, beautifully clothbound volume reveals a never-before-seen dimension of Gerhard Richter's art. Comic Strip 1962 contains a series of cartoon-like drawings, done in the style of American greats such as Saul Steinberg (hence the artist's cartoonist-style abbreviation of his name to "Gerd" here). The black-and-white drawings generally feature one or many hatted silhouette figures, floating in the air, against bare backdrops or atop planets, with occasional handwritten text (in German, and mostly illegible) interspersed around them. These works, printed at their original size, and made at the outset of Richter's career, greatly expand our picture of the influences and factors at play in his early years as part of the Capitalist Realist movement.
Published by Hatje Cantz. Edited and with text by Hubertus Butin, Stefan Gronert.
Gerhard Richter’s editions are attracting increasing interest around the world. Editions are all of the artist’s original works of art that have been produced in multiple. In his new catalogue raisonné Hubertus Butin presents all of the prints, photography editions, artist’s books, multiples (objects), and painting editions from 1965 to 2013. Informative essays and numerous illustrations demonstrate how the editions are an independent, major part of Richter’s oeuvre, offering the artist an opportunity to reach a larger audience while simultaneously exploring creative possibilities in diverse and experimental ways.Gerhard Richter (born 1932) fled from East to West Germany in 1961 and studied in Düsseldorf. After guest professorships at various institutions, he became a professor at the Kunstakademie Düsseldorf in 1971. Richter has been represented at important exhibitions, from the Documentas V to X to the 1972 Venice Biennial, and he is also the recipient of many prominent awards. To celebrate his seventieth birthday in 2002, The Museum of Modern Art, New York devoted a retrospective to his work. Richter lives in Cologne.
Published by Hatje Cantz. Edited and with text by Dietmar Elger.
Over the past half-century, Gerhard Richter (born 1932) has built up a stylistically heterogeneous and conceptually complex body of painting, photography, sculpture and artist’s books that firmly establishes his status as the most important living artist of our time: today, this diverse oeuvre totals in excess of 3,000 individual works. In February 2012, Hatje Cantz announced the first volume of their Gerhard Richter catalogue raisonné--the first of a projected five volumes, to be issued over the next seven years. Edited by Dietmar Elger, director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden, who has spent years researching and preparing the publication, this third volume encompasses the works Richter assigned numbers 389–651/2, which span the years 1976 to 1988. Alongside nearly 700 full-color plates (many of them full-page), it includes full technical specifications, information about the artist’s handwritten notes, and the provenance, bibliography and exhibition history for each individual work. This information is further supplemented by commentary, quotations from the artist and comparison images.
Published by Éditions Dilecta. Foreword by Henri Loyrette. Text by Dieter Schwarz.
For years, Gerhard Richter (born 1931) hardly even spoke of his own drawings (which were rarely if ever featured in his museum exhibitions or numerous publications), and few knew how frequently or consistently he produced works on paper. On the heels of his major traveling retrospective, this volume compiles around 100 works including drawings, watercolors and an ink-on-paper series. The drawings range from ballpoint studies of exhibition spaces to delicate sketches of a woman breastfeeding, or the folds in a child’s socks. Also included is the 1971 “Two Sculptures for a Room by Palermo,” which consists of painted bronze busts of Palermo and Richter. Revealing a lesser-known aspect of Richter’s work, and affirming his devotion to drawing, this catalogue gives an intimate view into the mental and aesthetic processes of one of our greatest contemporary painters.
Published by Whitechapel Gallery. Edited by Iwona Blazwick, Janna Graham, Sarah Auld. Introduction by Iwona Blazwick. Text by Gerhard Richter, Armin Zweite, Jean-FranÁois Chevrier, Benjamin H.D. Buchloh, Lynne Cooke, Helmut Friedel, Adrian Searle.
Gerhard Richter’s ongoing, encyclopedic Atlas project began in 1964, and now comprises more than 5,000 gridded photographs, diagrams, drawings and sketches. As an image archive, work tool and artist’s book, Atlas sits at the very heart of Richter’s practice, offering a massive summation of his masterful explorations of the tensions between photography and painting, history and memory, perception and representation. As a publication, Atlas has gone through numerous editions, each new volume expanding on the previous with elaborations of persistent themes. This book provides a critical tool for navigating Atlas, bringing together Richter’s own writings alongside commentaries by the art historians and curators Armin Zweite, Jean-François Chevrier, Benjamin H.D. Buchloh, Lynne Cooke and Helmut Friedel. Originally published in 2003 to coincide with the Whitechapel Gallery’s exhibition Gerhard Richter: Atlas, this updated edition also includes a review of the exhibition by Adrian Searle.
BOOK FORMAT Paperback, 6 x 8.20 in. / 132 pgs.
PUBLISHING STATUS PUB DATE 9/30/2012 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2013 p. 155
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Published by D.A.P./Distributed Art Publishers. Text by Gerhard Richter.
Patterns represents a brilliant new adventure in image-making and book-making by Gerhard Richter, who in recent years has produced several fascinating explorations of the possibilities of the artist’s book. For this latest project, Richter took an image of his work “Abstract Painting” (CR: 7244) and divided it vertically into strips: first 2, then 4, 8, 16, 32, 64, 128, 256, 512, 1,024, 2,048, up to 4,096 strips. This process, involving twelve stages of division, results in 8,190 strips, each of which is reproduced here at the height of the original image. With each stage of division, the strips become progressively thinner (a strip of the 12th division is just 0.08 millimeters; further divisions would only become visible by enlargement). Each strip is then mirrored and repeated, producing an incredibly detailed patterning. The number of repetitions increases with each stage of division in order to make patterns of consistent size. The resulting 221 patterns are reproduced here on landscape spreads, making for a truly extraordinary reading-viewing book experience. Born in Dresden, East Germany, in 1932, Gerhard Richter migrated to West Germany in 1961, settling in Düsseldorf, where he studied at the Düsseldorf Academy, and where he held his first solo exhibition in 1963. Over the course of that decade, Richter helped to liberate painting from the legacy of Socialist Realism (in Eastern Germany) and Abstract Expressionism (in Western Germany and throughout Europe). He has exhibited internationally for the last five decades, with a major European touring retrospective in London, Berlin and Paris in 2012. He lives and works in Cologne.
In 1988, Gerhard Richter created one of the most controversial and fascinating political painting-cycles of all time, with his Baader-Meinhof series. In 2002, he returned to the theme of media and political truth with his artist’s book War Cut. For this project, Richter photographed 216 details of his abstract painting “No. 648-2” (1987), and, working on a long table over a period of several weeks, combined these 4 x 6-inch details with 165 texts on the Iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on the dates of the war’s outbreak (March 20 and 21, 2003). “My method was to attach a number of texts to a number of images without having to think about whether something would be better positioned to the left or the right, above or below,” Richter told an interviewer, for a New York Times feature on the publication. “I placed these images so that a connection develops in terms of colors, structures and other characteristics. . . . Some images match the cruelty and the madness described in the texts shockingly well. And others can even serve as illustrations when the texts speak of deserts and other landscapes.” Originally published only in German in 2004, this long-awaited English version of this important artist’s book presents Richter’s powerful attempt to accommodate the extremity of war. For this edition, Richter applied the same process of text selection to The New York Times, using the same dates of the war’s outbreak.
Published by Walther König, Köln. Foreword by Lamia Joreige, Sandra Dagher. Text by Achim Borchardt-Hume.
Beirut presents a large gathering of Gerhard Richter’s overpainted photographs from the mid–1980s to the present. Rarely seen in print, these works merge the artist’s longstanding fascination with the respective languages and textures of photography and abstract painting. The imagery ranges from domestic and family photos to holiday snaps, landscapes, mountain ranges and studio shots, all drawn from Richter’s photographic archives. Also featured in this volume is Museum Visit, a series of 234 overpainted photographs, each of which was taken during a typical busy day at the Tate Modern. An essay by Achim Borchardt-Hume considers the overpainted photographs within Richter’s wider oeuvre, from the photo paintings of the 1960s to the 18 October 1977 cycle, from Atlas to War Cut. Borchardt-Hume asserts: “The photographs allow an insight into the private world of Richter, albeit an insight that is always seen--quite literally--through the veil of paint and painting.”
Published by Hatje Cantz. Edited and with text by Dietmar Elger.
Over the past half century, Gerhard Richter (born 1932) has built up a stylistically heterogeneous and conceptually complex body of painting, photography, sculpture and artist’s books that firmly establishes his status as the most important living artist of our time: today, this diverse oeuvre totals in excess of 3,000 individual works. Now, on the occasion of the artist’s eightieth birthday in February 2012, we are delighted to announce volume one of the Gerhard Richter catalogue raisonné--the first of a projected five volumes, to be issued over the next seven years. Edited by Dietmar Elger, director of the Gerhard Richter Archive at the Staatliche Kunstsammlungen Dresden, who has spent years researching and preparing the publication, this first volume encompasses the works Richter assigned numbers 1 to 198, which span the years 1962 to 1968. A total of 385 paintings and sculptures are listed, more than 30 of which were previously unseen or even unknown. Alongside more than 400 full-color plates (many of them full-page) and nearly 100 black and white plates, it includes full technical specifications, information about the artist’s handwritten notes, and the provenance, bibliography and exhibitions for each individual work. This information is further supplemented by commentary, quotations from the artist and comparison images.
Published by D.A.P./Tate. Edited by Nicholas Serota, Mark Godfrey. Text by Achim Borchardt-Hume, Dorothée Brill, Rachel Haidu, Christine Mehring, Camille Morineau.
Published on the occasion of Richter's major exhibition at the Tate, Gerhard Richter: Panorama is the first and most complete overview of one of the greatest artistic achievements of our times. Where previous monographs have focused on a single genre within the artist's vast output, this stunningly illustrated survey encompasses his entire oeuvre, now stretching across more than a half-century of activity, including photo-paintings, abstracts, landscapes and seascapes, portraits, glass and mirror works, sculptures, drawings and photographs. It therefore stands as the definitive portrait of Richter's colossal accomplishment to date. Alongside his celebrated abstractions, early black-and-white paintings and the photorealist depictions of candles, skulls and clouds that have become indisputable icons of modern painting, Panorama includes nearly 30 new paintings made over the past ten years, extensive comparative works, studio photographs, archival images and a substantial interview with the artist conducted by Nicholas Serota. This landmark publication is a fitting tribute to one of the world's most celebrated living artists. Born in Dresden, East Germany, in 1932, Gerhard Richter migrated to West Germany in 1961, settling in Düsseldorf, where he studied at the Düsseldorf Academy, and where he held his first solo exhibition in 1963. Over the course of that decade, Richter helped to liberate painting from the legacy of Socialist Realism (in Eastern Germany) and Abstract Expressionism (in Western Germany and throughout Europe). He has exhibited internationally for the last five decades, with retrospectives in New York, Paris and Düsseldorf. He lives and works in Cologne.
Gerhard Richter has increasingly turned towards the artist's book to explore possibilities of sequencing and narrative. Eiscombines German-only encyclopedia texts on Arctic regions with color photographs of ice floes and icebergs. Both texts and photographs are printed across split pages to read upside-down in either direction.
Published by The Drawing Center. Text by Gavin Delahunty.
For Gerhard Richter (born 1932), the category of drawing covers a multitude of techniques, including graphite, ballpoint, ink, colored ink and watercolor on paper. Throughout his career, drawings have appeared in series that sometimes only consist of a few works: in the 1960s, representational and mechanical drawings from projected photographs; in the 1970s, abstract drawings; in the 1980s, drawings of people and objects; and in the 1990s, both figurative and abstract ink drawings. Nonetheless, Richter notoriously once expressed disdain for drawing's vaunted guarantee of authenticity and virtuosity--in part from his insistent and complete commitment to painting. Drawing therefore sits at a fascinating angle to his painting, and provides an arena for aspects of his thinking that rarely surface in his painting. Lines Which Do Not Exist was published for the artist's Fall 2010 exhibition at The Drawing Center in New York--his first overview in a public institution in New York since 40 Years of Painting at The Museum of Modern Art (2002). It presents more than 50 color reproductions of graphite, watercolor and ink on paper drawings made by Richter over a period of five decades, from 1966 to 2005.
Since publishing War Cut in 2004, Gerhard Richter has made an increasing number of artist's books, produced autonomously from his ostensibly more conventional exhibition catalogues. Sindbad is the title of a series of 98 lacquer pictures made in 2008, painted on the back of 12 x 10-inch panes of glass. For their first public exhibition, Richter paired them as 49 diptychs, which resembled 49 book-page spreads, pointing towards the possible ideal incarnation of these works as a large-format artist's book. Using silkscreen printing, this volume reproduces all 98 of the pictures at their original dimensions. Seven texts, on the theme of Sindbad the Sailor (in German only), are interleaved with these magnificent images, and a bellyband around the book offers a concise introduction to the work. Please note that only limited copies of this title are available.
Published by Hatje Cantz. Text by Dietmar Elger, Hubertus Butin.
No genre has fascinated Gerhard Richter so consistently throughout his career as that of landscape. Ever since his softly overpainted Views of Corsica series of 1968-69, the artist has revisited and reprised its possibilities, creating black-and-white townscapes based on newspaper picture and amateur photographs, mountain and park scenes with heavy impasto, illusionistic seascapes in subtly gradated tones and paintings worked with abstract overpainting. Frequently these paintings interrupt or quietly sabotage the transcendent horizon of the Romantic landscape, but the image presented is not exactly ironized as in other paintings of Richter's. "I felt like painting something beautiful" was the artist's response, when asked about the preponderance of landscapes in his works around 1970. Fifteen years later, he further elaborated that "my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'... by untruthful I mean the glorifying way we look at Nature--Nature, which in all its forms is against us, because it knows no meaning, no pity, no sympathy..." Richter's approaches to landscape are various indeed, yet uniquely and recognizably his. The first edition of Gerhard Richter: Landscapes was published in 1998; it quickly sold out, was reprinted in 2002 and rapidly went out of print again. This new edition is the first to expand on the 1998, and brings us up to date with Richter's enduring fondness for this subject. Gerhard Richter was born in Dresden in 1932, and rose to prominence in the early 1960s as a member of the Capitalist Realism movement alongside Sigmar Polke and others. His first solo show was in 1964 at Galerie Schmela in Düsseldorf. Today he is ranked among the world's greatest painters.
Published by DuMont Buchverlag. Edited by Dietmar Elget. Text by Hubertus Butin.
Few have done more to revolutionize contemporary painting than Gerhard Richter (born 1932). Amazingly--given the German artist's fame and influence--his only film remains largely unknown to this day. Made in 1966, Volker Bradke focuses on a young denizen of the Düsseldorf art scene. It was first exhibited that same year along with a painted portrait and photographs (since lost), at the legendary Schmela Gallery in Düsseldorf. A virtually unknown figure outside of his small circle, Bradke was briefly catapulted by this film into the realm of art celebrity, before fading once more into relative obscurity. This publication, which includes a DVD and essay by art historian Hubertus Butin, is the first to present this film, analyzing it in its original cultural context, and situating it within the artist's oeuvre.
Published by Walther König, Köln. Text by Hans Ulrich Obrist.
Gerhard Richter and Hans Ulrich Obrist first met in 1985. Their professional collaborations began seven years later, when the 24-year-old Obrist curated his first Richter exhibition; the following year he published a collection of his writings. Now Gerhard Richter has dedicated an artist's book to this longstanding relationship. The texts in Obrist-O'Brist have been produced by rearranging Obrist's interviews using a random generator, setting the results in blocks without discrete passages or paragraphs. The color plates are made up of photographs—both portraits and mementos—of Hans Ulrich Obrist, from the past 15 years, and photos of Richter's own paintings, which Richter has then painted over using brushes and scrapers. Chiming with many currents in contemporary writing and bookmaking, Obrist-O'Brist is an adventure from cover to cover; it even has two different sleeves, and can be approached from either end (as frequent upside-down pages indicate).
Published by Walther König. Edited by Dieter Schwarz. Text by Dietmar Elger.
The Elbe monotypes were made by Gerhard Richter in 1957, just one year after he had graduated from art college in Dresden. Abstract, somewhat melancholic and comparatively small in scale, these 31 works were placed in the safekeeping of a friend when Richter fled the GDR in 1961, and have never previously been published. They are here reproduced in their original full-size format, on chamois-colored A4 paper, in a beautiful large-format edition. It was not until 2008 that Richter signed, numbered and titled the sequence, recuperating it back into his oeuvre a half-century later. The Elbe monotypes foreshadow Richter's later abstractionism, and are fascinating in their subtle oscillation between figure, landscape and abstraction. In an afterword, Dieter Schwarz explicates some of the particularities of Richter's process, which utilized a rubber roller invented by Richter himself.
Published by D.A.P./Distributed Art Publishers, Inc.. Edited by Hans Ulrich Obrist, Dietmar Elger.
For a painter who has so successfully neutralized the declarative potential of his medium, Gerhard Richter has committed to print a surprisingly large amount of discussion on his work. Perhaps it is only natural that an artist whose painting incarnates the Cagean premise that there is nothing to communicate should be moved to address that fact over and over. For this reason, the first edition of Richter's writings, The Daily Practice of Painting (published in 1993 by MIT Press) was an especially compelling collection, gathering the speculations of an artist profoundly involved in states of doubt, uncertainty and negation. Edited by Hans Ulrich Obrist, it quickly became a basic text in all of the creative fields. For this new, complete edition of the writings, Richter has placed his private archive at the editor's disposal; most of the photographic material comes from this archive and has not been previously published. The volume begins with the artist's farewell letters to his teacher Heinz Lohmar in 1961, is augmented with 15 unpublished texts from 1962 to 1993, as well as texts from the past 14 (highly productive) years of his career, and closes with an interview on his contribution to the 52nd Venice Biennale in 2007. In between are public statements on specific exhibitions, private reflections drawn from personal correspondence, answers to questions posed by critics and journal excerpts discussing the intentions, methods and subjects of his works from various periods. At more than 600 pages (the first edition was only 288), it is without doubt the essential companion to Richter's colossal oeuvre. Gerhard Richter was born in Dresden in 1932. His first solo show was in 1964 at Galerie Schmela in Düsseldorf. Today he is ranked among the world's greatest painters.
Published by Hatje Cantz. Edited by Ulrich Wilmes. Text by Gregor Stemmrich, Benjamin H.D. Buchloh, Siegfried Gohr.
Talking to art historian Benjamin Buchloh in 1988, Gerhard Richter cited the appearances of Jackson Pollock and Lucio Fontana at the second Documenta in Kassel in the late 50s as decisive encounters for his then-incipient art. Just a few years later, Richter would style himself as a German "Pop" artist, but in the 80s he returned to pure abstraction for its possibilities of "bitter truth, liberation, and... a completely different and new content... expressing itself." His abstract paintings present a heavily worked surface, blurred and scraped to both veil and expose prior layers. In other words, they manage a tension between depth (layer) and strong horizontal activity (blur). Unlike much heavily worked abstraction, and in spite of their scale, their total effect is not heroic--Richter's almost-deadpan, process-oriented transparency cancels out such chest-beating--but the artist that responded to the direct energies of Pollock's work has clearly found a way, some decades later, to conjure both zest and detachment simultaneously. Abstraction has made up a dominant portion of Richter's output since the 80s, inaugurating a fruitful dialectic with figuration, and Large Abstracts collects works produced between 1986 and 2006. For this volume, Buchloh (once described by former Museum of Modern Art, New York, curator and current Dean of the Yale School of Art Robert Storr as, "the artist's longtime sparring partner") returns to the fray, and, along with Beate Söntgen and Gregor Stemmrich, offers critical insight on this iconic oeuvre.
Published by Hatje Cantz. Edited by Markus Heinzelmann. Text by Botho Strauss, Siri Hustvedt, Uwe M. Schneede.
Gerhard Richter is justly famed for the photorealism of his early canvases, but it is less well known that he has also painted directly onto photographic prints. These (mostly small-format) pieces were reproduced in books as early as the first Atlas, but practically all of the works themselves are housed in private collections and rarely exhibited in public. Overpainted Photographs gathers this body of work, which unites the labor of the hand with the work of mechanical reproduction to produce a kind of art as conceptually rich as Richter's better-known paintings, neutralizing the expressive powers of each medium to reach an indifference to their potency. In an overture to Duchamp's "degree zero" found objects, the original photographs are frequently bland in content--an empty office, a ball, a beach scene or tourist snapshot--and Richter's painterly gestures bounce off that content in peculiar ways, sometimes interacting with it, sometimes overlaying it and sometimes threatening to eclipse it altogether. The final effect is to cause both photography and painting to seem like incredibly bizarre activities, disparate in texture but often complicit in aspiration. This monograph offers a unique opportunity to savor what had previously been a neglected but copious aspect of Richter's work.
Published by Hatje Cantz. Preface by Hans Ulrich Obrist. Text by Peter Gidal, Julia Peyton-Jones.
Composed of bright monochrome squares randomly arranged in a grid to create stunning sheets of kaleidoscopic color, Gerhard Richter's 4900 Colors (2007)--the latest result of the artist's long-term exploration of seriality--was created just following the completion of his design for the south transept window of Cologne Cathedral, unveiled in August 2007, which is made of 11,500 hand-blown squares of glass in 72 colors. 4900 Colors consists of 196 panels of 25 different colored squares that can be reconfigured in 11 variations, from one large-scale piece to multiple, smaller paintings. Version II--49 identically sized paintings, each 38 x 38 inches--was produced for Richter's 2008 Serpentine Gallery exhibition, also catalogued here, alongside texts by critics Benjamin Buchloh, Peter Gidal and Birgit Pelzer as well as Serpentine Director, Julia Peyton Jones and Serpentine Co-Director of Exhibitions Hans Ulrich Obrist.
Gerhard Richter has been taking photographs in the dense forest near his Cologne home since 2005. This complex artist's book features 285 of these stunning, almost abstract images, sorted loosely into groups--delicate branches, horizontal logs, diagonally growing trees--and interspersed with German text from a forestry magazine, all the words of which have been shuffled by means of a random generator and then edited to remove any overly explicit names or passages--although the resulting absurd text can still be recognized as a commentary on forest issues. Further, Richter divides the text into seven horizontal strips that run through the book, arranged according to strict parameters, which he then undermines so that the 106 variously assigned pages fill continuously with text, and then empty gradually after the only completely filled page in the middle is reached--producing a unique fading in and out of images. In German only.
Published by Mer Paper Kunsthalle. Text by Robert Storr.
This volume features a collection of 36 editions and one painting by Richter, all from an exhibition at Belgium's Cultuurcentrum Strombeek. A short text by Robert Storr illuminates Richter's 1966 painting "Familie im Schnee" (Family in the Snow), which, copied from a photograph, exemplifies Richter's characteristic blurred brushwork.
Published by Hatje Cantz. Edited by Goetz Adriani.
Curator Robert Storr has said of the iconic, inscrutable German painter Gerhard Richter, "He's not playing hard to get, he's doing something that is hard to get.'' The difficulty arises from a Conceptualist oeuvre that style-jumps from Photorealism to large, abstract compositions. Martha Schwendener has summed up Richter's contribution by stating, "Seeing Gerhard's abstraction and Photorealism together, you realize that this dual body of work is the perfect expression of what it means to paint today--and what a contemporary master might be." Whatever the style, Richter's subject is always painting itself. Because it features more than 80 works from important private collections, including the artist's own, this monograph provides a unique contextualization of the artist's incredibly influential career, which, spanning more than 40 years, mirrors not only the history of postwar Germany, but also the medium of painting.
Published by Walther König, Köln. Text by Stephan Diederichs, Birgit Pelzer, Barbara Schock-Werner, Hubertus Butin.
This volume documents Gerhard Richter's 65-foot-tall, abstract, stained-glass window for Germany's historic Cologne Cathedral, the original of which was destroyed by bombs in World War II, and thereafter replaced with clear glass. Composed of more than 11,000 four-inch squares, or "pixels," in 72 colors, the window is based on Richter's 1974 painting, "4096 Colors," a grid of monochromatic squares 64 tall and 64 wide (for a total of 4096 squares) which was organized and designed according to a mathematical formula that systematically mixed red, yellow, blue and gray. Photographs of the work are accompanied by three essays that integrate this important work into the context of Richter's oeuvre and shed light on the principle of randomness on which it is based. Gerhard Richterwas born in Dresden and escaped to West Germany in 1961. He has lived and worked in Cologne, where he was made an honorary citizen last year, since the early 1980s.
Published by Walther König, Köln. Essay by Hubertus Butin.
This intimate volume documents, in 34 color reproductions, the works on paper that were shown at San Francisco's de Young Museum recently. Includes several images of source materials, as well as enlightening photographs of the artist and his assistants at work. Also features installation shots of an exhibition in Dusseldorf that included massive undulating grid-like wall works related to the works on paper featured here.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Hardcover, 6.75 x 9.5 in. / 64 pgs / 34 color.
PUBLISHING STATUS PUB DATE 8/15/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2006 p. 144
PRODUCT DETAILS ISBN 9783000172175FLAT40 LIST PRICE: $40.00 CDN $50.00
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STATUS: Out of print | 00/00/00
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Published by Walther König, Köln. Essays by Benjamin H.D. Buchloh and Dieter Schwarz.
Published on the occasion of the artistís recent one-person exhibition at New Yorkís 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.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Clothbound, 8.5 x 10 in. / 136 pgs / 40 color.
PUBLISHING STATUS PUB DATE 8/15/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2006 p. 111
PRODUCT DETAILS ISBN 9780944219058FLAT40 LIST PRICE: $40.00 CDN $50.00
AVAILABILITY Not Available
STATUS: Out of print | 4/1/2008
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Published by Hatje Cantz Publishers. Essays by Stefan Gronert and Hubertus Butin.
This first comprehensive overview of the place of the portrait in Gerhard Richterís oeuvre assembles portrait paintings, photographs, watercolors, drawings and prints from the 1960s to the present--everything from classics like the strikingly honey-haired Betty to previously unknown works discovered in the course of research for this project. Icons such as Ema (Nude on a Staircase), Uncle Rudi, Mister Heyde, 48 Portraits, Self-Portrait, Family at the Sea, Small Bathers, Reader and Moritz, settle once and for all that Richterís emotional pull towards his material (ìThe subject matter is so important to me that I invest much time and effort in my search for it, so much that I just have to paint it.î) not only doesnít hinder him from producing classics, but rather encourages it. Stefan Gronertís essay follows the development of the portrait in the artistís work, starting with the blurred black-and-white pictures of the 1960s and moving on to the colorful panels of recent years, while Hubertus Butin devotes his essay to Richterís portrait photography of the 1960s. Portraits demonstrates that Richter pursues the theme of the portrait in not only all of the media in which he works, but in every genre as well.
Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm, Anders Kold and Mette Marcus. Essays by Poul Erik T¯jnerand Troels Wˆrsel.
In 2004 a Danish newspaper revealed the provenance of the magazine-clipping source image for Gerhard Richterís 1965 painting Three Sisters, which had up until then been a mystery, even to the artist. The girls were in fact the three Danish princesses Margrethe (now Queen Margrethe II), Benedikte, and Anne-Marie. That newly topical work was brought to Copenhagenís Louisiana Museum of Art along with 80 others for the first comprehensive show in Denmark devoted to Richter, and this catalogue now provides an inviting overview of the important German artistís career. It also explores questions about the imagery from which Richter draws, which includes apparently anonymous material from newspapers and magazines, as well as snapshots by the artist himself and others. In addition to reproductions of his paintings, both figurative and abstract, this volume contains a biography, essays, and a selection of photographs of Richter from 1967 to 1999 by Manfred Leve.
Published by D.A.P./Richter Verlag. Artwork by Gerhard Richter.
The diverse work of internationally renowned artist Gerhard Richter ranges from photo-based pictures to gestural abstraction. “Semblance is the theme of my life,” he has stated; “All that is, seems, and is visible to us because we perceive it by the reflected light of semblance.” His oeuvre frequently calls into question many widely-held attitudes about such issues and much else--the importance of stylistic consistency, the “natural” evolution of individual artistic sensibility, the spontaneity of creativity and the relationship of technological means and mass-media imagery to traditional studio methods and formats. This beautifully produced catalogue raisonné of Richter's oeuvre between 1993 and 2004 publishes many works for the first time, and is essential reading for fans of RIchter's work.
Published by Zwirner & Wirth. Essay by Jean-Philippe Antoine.
Nine landscape paintings spanning over 30 years of Gerhard Richter's career are presented in this exhibition catalogue by Zwirner & Wirth gallery in New York. As Richter once stated, “For me there is no difference between a landscape and an abstract painting... I refuse to limit myself to a single option, to an exterior resemblance, to a unity of style which can't exist. A color chart differs only externally from a small green landscape. Both reflect the same basic attitude. It is this attitude which is significant.”
Published by Walther König, Köln. Essay by Jurgen Becker. Introduction by Martin Roth and Ulrich Bischoff. Interview by Jan Thorn-Prkker.
This publication features the 41 paintings that German-born artist Gerhard Richter donated to his home city, Dresden, including the works Glasscheiben (2004), Spiegel (1986) and Acht Lernschwestern (1971). An essay by Jurgen Becker highlights Richter's signature style, and the painter's relationship with his hometown. German text only.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Clothbound, 11 x 9 in. / 104 pgs / 47 color / 24 bw.
PUBLISHING STATUS PUB DATE 3/15/2005 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2005 p. 134
PRODUCT DETAILS ISBN 9783883758534TRADE LIST PRICE: $45.00 CDN $55.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Without Color presents an important group of paintings from Gerhard Richter's oeuvre: works without color--something upon which the painter ordinarily relies a great deal. The (non-) colors, black, white and gray have always played an important role in Richter's art. Spanning four decades, from the early 1960s to the present, the broad, fascinating spectrum of these colorless paintings ranges from representational works based on black-and-white photographs, to entirely abstract paintings. Richter needs no more than a palette of grays to create impressive works in the traditional genres of history painting, portraiture, landscape and still life. He explores the fundamental aspects of painting in images composed of streaks of gray, overpainting and monochromatic gray color fields. The outcome is a cross-section that incorporates everything painting can mean today--while focusing on the innermost essence of painting through the paradoxical renunciation of color.
Published by Richter Verlag. Essays by Fernando FrancÈs and J¸rgen Schilling.
The works by Gerhard Richter that Georg and Ingrid Böckmann collected in Berlin between 1960 and 2003 span all of the artist's important genres: portraits, landscapes, still lifes, geometric color charts, abstract compositions. Thus the collection, comprehensively illustrated in this publication, provides a welcome survey of the central aspects of the artist's production. Statements and interviews from Richter's diaries exemplify his position as a painter who has repeatedly undertaken new approaches and found new formulations. Despite the ever-increasing dominance of photography and new media in art making, Richter has always foreseen a future for painting. For him, it is the lust to paint that is proof of painting's necessity.
Published by Hatje Cantz Publishers. Edited by Stefan Gronert and Hubertus Butin. Essays by Catharina Manchanda, Stefan Gronert and Hubertus Butin.
Though Gerhard Richter is one of the most accomplished and best-known contemporary German artists, and his paintings are widely exhibited, his collectorís editions have attracted relatively little public attention. This catalogue raisonné, compiled through intensive research over a period of many years by art historian Hubertus Butin, Richter's former assistant, documents the full range of graphic and photographic editions as well as the artistís books, multiples and editions in oil realized by the artist between 1965 and 2004. This publication presents four-color illustrations of each and every one of these collector's editions. The illustrations, accompanied by basic texts, shed new light on the significance of Gerhard Richter's editions within the context of his complete oeuvre. Richterís painting reflects the influence of his interest in photography, and a closer look at his collector's editions reveals, in a somewhat different way, the extent to which Richter's art is based upon visual reproductions of reality. Through his reflections on the various pictorial motifs as well as the media and technical processes involved in his work, the artist has succeeded in introducing new information to the body of materials that aim to document his production.
In 1988, Gerhard Richter created one of the most controversial and fascinating political painting-cycles of all time, with his Baader-Meinhof series. In 2002, he returned to the theme of media and political truth with his artist’s book War Cut. For this project, Richter photographed 216 details of his abstract painting “No. 648-2” (1987), and, working on a long table over a period of several weeks, combined these 4 x 6-inch details with 165 texts on the Iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on the dates of the war’s outbreak (March 20 and 21, 2003). “My method was to attach a number of texts to a number of images without having to think about whether something would be better positioned to the left or the right, above or below,” Richter told an interviewer, for a New York Times feature on the publication. “I placed these images so that a connection develops in terms of colors, structures and other characteristics. . . . Some images match the cruelty and the madness described in the texts shockingly well. And others can even serve as illustrations when the texts speak of deserts and other landscapes.” Text to this 2004 edition is in German only.
PUBLISHER WALTHER KöNIG, KöLN
BOOK FORMAT Hardcover, 9.75 x 8.25 in. / 380 pgs / 216 color.
PUBLISHING STATUS PUB DATE 3/2/2004 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2004
PRODUCT DETAILS ISBN 9783883757575TRADE LIST PRICE: $75.00 CDN $90.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Whenever Gerhard Richter goes to Sils, a small town in the Swiss Alps, he makes photographs, some of which he overpaints and adds to his Atlas. Others he treats as autonomous works, as in those presented in this intimate artist's book. In the overpainted photographs, the levels of reality evident in photography are combined with those that exist in painting. However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting. The photographs reveal a parallel between both forms of painterly practice, evidence of the simultaneous existence of contradictory bodies of work in Richter's oeuvre.
Published by The Museum of Modern Art, New York. Essay by Robert Storr.
On October 18, 1977, three young German radicals, members of the militant Baader-Meinhof group, were found dead in a Stuttgart prison; they were pronounced suicides, but many people suspected they had been murdered. Gerhard Richter, a German painter, and one of the most exceptional and highly regarded artists of the second half of the 20th century, created, 11 years after this traumatic event, a series of 15 paintings known as October 18, 1977. It is among the most challenging works of the artist's career, and one of the 20th century's most famous works on a political theme, still highly debated and unsettling to this day. Accompanied by an extensive and sensitive group of texts by Robert Storr, who recently curated the highly acclaimed Richter retrospective at The Museum of Modern Art, New York.
Published by The Shifting Foundation/SFMOMA. Edited by David Breskin. Essays by Dave Hickey and Klaus Kertess. An Audio CD of music by Bill Frisell.
Gerhard Richter's abstractions are profound and beautiful, though perplexing. After all these years, they still present a curious challenge: what, exactly, are they? RICHTER 858 explores this question by focusing on one suite of extraordinary pictures painted in 1999, soon after his return to work after a silence caused by a stroke. Both investigation and celebration, this book brings together image, music and text in a uniquely compelling way: contributors include the great guitarist and composer Bill Frisell, two sharp-eyed critics, and a baker's dozen of prominent, award-winning poets. Housed in an aluminum slipcase, this lavish, oversized volume features the largest, most sumptuous, and most accurate reproductions of any Richter work. The eight paintings of the suite are shown at more than half-scale, and also, quite untraditionally, presented unbound on heavy paper in a pocket at the back of the book--allowing readers to mix, match, and re-present the work for themselves outside the confines of the printed volume. Forty details from the paintings are also reproduced in large-format, accompanied by the poems and texts. These brilliant passages--rich in incident and intervention, and ranging from the coolly sublime to the loudly riotous--make fascinating pictures in their own right. Additionally, a double gatefold opens to show all eight paintings in panoramic view. In essence, RICHTER 858 presents an elegant, if raucous, meeting ground for our most important contemporary artist and a diverse chorus of American music, poetry, and criticism.
PUBLISHER THE SHIFTING FOUNDATION/SFMOMA
BOOK FORMAT Slipcased, 17 x 12.5 in. / 120 pgs / 68 color
PUBLISHING STATUS PUB DATE 9/2/2002 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2002
PRODUCT DETAILS ISBN 9780971861008TRADE LIST PRICE: $175.00 CDN $210.00
AVAILABILITY Not available
STATUS: Out of print | 6/1/2005
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Published by Hatje Cantz Publishers. Essays by Dietmar Elger and Oskar Batscmann.
This volume presents landscapes by Gerhard Richter spanning 35 years: outstanding, large-format reproductions and two major essays elucidate the artist's working methods and his philosophy, while demonstrating that Richter's landscapes and abstract works, far from being artistic opposites, are closely related aspects of the painter's unique appropriation of reality.
Published by Hatje Cantz Publishers. Edited by Hans Ulrich Obrist. Essays by Birgit Pelzer, Guy Tosatto.
Gerhard Richter is recognized worldwide as one of the greatest living artists. With a brush that deftly and romantically captures abstract details and blurred newspaper images alike, he has transformed our understanding of art in the age of photographic reproduction and mass-media imagery. 100 Pictures is a faithful reprint of the intimate, cloth-bound book Richter created in 1996 as a nonstandard anthology of his oeuvre. Following a short introduction to his early work, which features pictures long held in his studio, 100 Pictures presents Richter's output from an intensive period of work between 1995-96. Though this period mainly saw the production of abstract works, it also begat a cycle of eight small-format paintings of an intimate, private nature, which portrays his young wife Sabine as a Madonna-and-child. 100 Pictures is an extraordinary document of contemporary art, finally back in print.
Published by The Museum of Modern Art, New York. By Robert Storr.
Ranging from photo-based pictures to gestural abstraction, Gerhard Richter's diverse body of work calls into question many widely-held attitudes about the importance of stylistic consistency and the relationship of technological means and mass media imagery to traditional studio methods and formats. Unlike many of his peers, he has explored these issues through the medium of painting, challenging it to meet the demands posed by new forms of conceptual art. In every level of his varied output--from his austere photo-based realism of the early 60s, to his brightly colored gestural abstractions of the early 80s, to his notorious cycle of black-and-white paintings of the Baader-Meinhof group--Richter has assumed a critical distance from vanguardists and conservatives alike regarding what painting "should" be. The result has been one of the most convincing renewals of painting's vitality to be found in late twentieth- and early twenty-first-century art. With an extensive and insightful critical essay by curator Robert Storr, a recent interview with the artist, a chronology, an exhibition history and nearly 300 color and duotone reproductions, Gerhard Richter: Forty Years of Painting marks a significant contribution to the understanding of contemporary art in general, and Gerhard Richter in particular.
Published by Dis Voir. Contributions by Gertrud Koch, Jacinto Lageira. Text by Robert Fleck.
This thoughtful entry in the new Plastic Arts Collection from Editions Dis Voir provides a long-overdue examination of the ways cinema has fueled Richter's complications of the boundary between painting and photography. A valuable introduction for anyone interested in the historical roots of this extraordinarily protean artist.
“Appearance, semblance is the theme of my life.” This statement by Gerhard Richter (b. 1932) suggests the importance of portraiture to his career. One of the greatest artists working today, Richter has been intensively engaged with portraiture since 1962. His portraits invite critical consideration of both portraiture and painting; they include images of specific people—whether sensational subjects of people in the media, icons of the popular imagination, or close friends and relatives. However, all are transformed when Richter puts them onto canvas, for they often become anonymous in the process or become significant simply for being included. Richter’s investigation into how we understand what surrounds us is at the heart of all his work.
In this large-scale book—ideal for Richter’s portraits—Paul Moorhouse offers a major advance in the understanding and appreciation of the renowned artist’s work. With keen insight, Moorhouse studies the portraits in close detail, examining the sophisticated ways in which Richter has challenged and extended the genre of portraiture and revealing the startling range of the artist’s source material.
PUBLISHING STATUS PUB DATE -- Active
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PRODUCT DETAILS ISBN 9780300151596RETAIL LIST PRICE: $60.00 CDN $60.00