Gerhard Richter : abstraction
Author(s)
Bibliographic Information
Gerhard Richter : abstraction
（A publication series by the Museum Barberini）
Prestel, c2020
Special ed
- : English ed
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Note
Translations from the German: Steven Lindberg, Allison Moseley, Kate Vanovitch
Catalogue of an exhibition held at Museum Barberini, Potsdam, Germany, June 30 - October 21, 2018
Includes bibliographical references (p. 237)
"Gerhard Richter: Abstraction" June 30-October 21, 2018 Museum Barberini, Potsdam, Germany
Text in English, translated from the German
Contents of Works
- Across art history: Gerhard Richter and abstraction
- Ortrud Westheider
- Abstraction and semblance in Gerhard Richter's oeuvre
- Dietmar Elger
- Grids and readymades: Gerhard Richter's color chart paintings in the 1960s and 1970s
- Hubertus Butin
- "In painting thinking is painting": the primacy of form in Gerhard Richter's art
- Armin Zweite
- Richter's squeegee: the artist and his tools
- Matthias Krüger
- Catalog of exhibited works. Structures and illusions: abstract works in the 1960s
- Valerie Hortolani
- Chance and concept: color charts
- Dietmar Elger
- Gestures and blendings: inpaintings and gray paintings
- Valerie Hortolani
- Blurrings and close-ups: details and early abstract paintings
- Dietmar Elger
- Nature and materials: abstract landscapes
- Dietmar Elger
- Paints and layers: abstract paintings from 1986 to 2005
- Kerstin Küster
- Transparent and reflected: mirrors, glass, and strips
- Janice Bretz and Kerstin Küster
- New abstract paintings from 2005 to 2017
- Kerstin Küster
- Biography of Gerhard Richter
- Dietmar Elger and Valerie Hortolani
Description and Table of Contents
Description
This publication is the first to focus solely on the abstract strategies and processes contained in Gerhard Richter's body of work. In the early 1960s, the artist began to call painting into question, an exploration that continues to occupy him to this day. In the 1970s, he responded to the rejection of painting by creating a series of monochrome works in gray. Moreover, he viewed the colour gray as a means of addressing political themes without depicting them in an idealized manner. In his Inpainting series of the 1970s, Richter made brushstrokes and the application of paint his subject. In other works, he photographed small details from his palette and transferred them onto large canvases in a photorealistic manner. In his colour charts, he subjected painting to an objective process by leaving the arrangement of the colours to chance. Since 1976, Richter has created a series of abstract works by applying paint with a brush, scraper, and palette knife, alternating between conscious decision-making and random processes.
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