Published by HENI Publishing. Edited by Hans Ulrich Obrist.
The Richter Interviews collects conversations between Hans Ulrich Obrist and Gerhard Richter conducted over the course of more than two decades of discussion and collaboration. Subjects discussed range from Richter’s place within art history to artists’ books, architecture, religion, unrealized projects and his advice for young artists. This collection also includes a previously unpublished interview focused on Richter’s much-lauded window for Cologne Cathedral.
Obrist’s vast knowledge and interrogating mind, coupled with his longstanding friendship with Richter, make him a unique interlocutor for the artist, whose work spans more than 60 years and ranges from painting to photography, glass to printmaking, watercolors to books.
Illustrations of artworks discussed by Richter accompany the texts for visual reference—making this an indispensable guide to the thinking and creative processes of one of the world’s most admired 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.
Hans Ulrich Obrist (born 1968) is a world-renowned curator and the artistic director of the Serpentine Galleries in London. Alongside his curatorial practice, Obrist has written extensively on and around contemporary art, with a particular interest in the interview format. Among his recent publications are Conversations in Colombia (2016) and The Czech Files (2015).
Published by Walther König, Köln. Afterword by Hubertus Butin.
For the subscription edition of Gerhard Richter's (born 1932) Schriften und Interviews, published by Insel Verlag in 1993 in an edition of 100 copies, the artist drew a small "self-portrait" in pencil on the back of a portrait photograph at the front of the book. Enthused by this work, between September and December 1993 he produced a further 94 signed and dated self-portraits on loose sheets of paper, which are published here for the first time. Seen together as a series, Richter's exercise becomes truly impressive: despite the consistency of conception, each instance has an individual formal and aesthetic appearance. These pencil drawings form a series of variations whose aspiration is not the gradual approach toward a perfected final outcome, but rather the serial testing of different but equally weighted possibilities of representation within limited specifications.
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.
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.
The expanded edition of the definitive Gerhard Richter survey
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 Heni Publishing. Text by Dieter Schwarz.
November presents German artist Gerhard Richter’s series of the same name—comprised of 54 ink drawings—so called due to their creation throughout the month of November in 2008. Richter assumed this method after accidentally dripping ink on to a sheet of highly absorbent paper and realising that two related images formed on the front and back. He then began to manipulate the ink in various ways—changing its consistency and applying lacquer or pencil to add further detail. Reworking this method on 27 sheets of paper, he was able to create 54 images in total, presented here as facsimiles, so that both sides of each piece of paper can be viewed at the same time. These are labelled with the date that they were produced and arranged in order.
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.
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.”
This artist’s book presents 84 reproductions of sketches taken from a notebook made by Gerhard Richter between 2004 and 2009. Some sketches feature figurative motifs, human forms and faces, while others appear as purely abstract shapes, configurations and patterns.
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, 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.