Link to Post:
http://slowmuse.wordpress.com/2012/11/18/richter-by-the-sea/
Deborah Barlow blogs a selection of passages from Gerhard Richter's Writings 1961 – 2007. Visiting the Outer Banks, Barlow finds the power of nature - the action of wind and waves - to be an apt metaphor for the process of painting as described in Richter's book.
Richter: "Any thoughts on my part about the ‘construction’ of a picture are false, and if the execution works, this is only because I partly destroy it, or because it works in spite of everything—by not detracting and by not looking the way I planned. I often find this intolerable and even impossible to accept, because, as a thinking, planning human being, it humiliates me to find out that I am so powerless. It casts doubt on my competence and constructive ability. My only consolation is to tell myself that I did actually make the pictures - even though they are a law unto themselves, even though they treat me any way they lie and somehow just take shape."
Link to Post:
http://joannemattera.blogspot.com/2012/10/gerhard-richters-frigid-digitals.html
Joanne Mattera blogs about the recent exhibition of new works by Gerhard Richter at Marian Goodman Gallery, New York.
Mattera writes: "These are ink, not paint... And yet. Something interesting happens when you are surrounded by the horizontally striped prints, something the images on this blog post cannot convey. The prints, some multipanel, are so large that you feel enveloped by them. That optical vibration is so strong that it changes the perceived distance between you and the print, so much so that it’s possible to bump into the plexi surface before you even realize you are that close."
Link to Post:
http://www.portlandart.net/archives/2012/08/gerhard_richter.html
Arcy Douglass blogs about the exhibition Gerhard Richter: Seven Works at the Portland Art Museum, on view through September 9, 2012.
"The works are often monochromes, the most spectacular of which is Grau (Gray)... One gets the feeling that it is a painting made out of frustration. Maybe he wanted to make a painting that would be completely objective. Gray, being neither black nor white, is neutral, rational. It is also the type of thing that gets made when the language and history of painting are no longer able to tell us anything new, and the same forms and ideas are endlessly recycled. So Richter makes a painting that destroys everything that we are taught is essential about painting."
Link to Post:
http://immaterial-culture.blogspot.com/2012/03/thoughts-on-gerhard-richter-painting.html
D Richmond reflects on the film Gerhard Richter Painting now showing at Film Forum in New York through March 27, 2012.
Richmond writes: "The major thing I walked away from with a new appreciation was how [Richter] thinks about his making and the process. It many of these he starts out using old motifs or styles from his 70’s and 80’s abstractions and then slowly subsumes then under a density of the smear. It is the burying and destruction that is partially important but the process gives him the freedom to abandon motif into the act of making. In the process to discover something one could not plan for and the sudden accidental apparition beyond ones conscious control is an exciting moment, an intricate dance between artist and canvas."
Link to Post:
http://www.canadianart.ca/online/reviews/2012/01/05/gerhard_richter/
Richard Rhodes reviews the recent exhibition Gerhard Richter: Panorama at Tate Modern, London.
Rhodes writes that "The Tate show attests to a restless mind that never strays far from the complicated interactions of images and paint. Richter’s photographic Atlas is not part of the exhibition, but even without it, it is clear that for Richter, every image is a rabbit hole that opens to evasions of truth and to a false security about the stability of representational space. His art has been an evolution of paintings and objects that attest to the varieties of uncertainty embedded in contemporary consciousness."
Link to Post:
http://www.spreadartculture.com/2011/10/07/gerhard-richter-blurring-reality/
Kisa Lala blogs about the new film Gerhard Richter Painting from by Soda Pictures directed by Corinna Belz.
"Belz filmed the secretive artist at his studios in Cologne in Germany over several months to create a fully immersive studio experience, though the artist seems to rarely forget he is being filmed. Richter says in the film that his constant reworking of the paint with squeegees and fat bristles is an attempt to remove the flaws…" The post includes a trailer from the film.
Link to Post:
http://aeqai.com/main/2011/06/gerhard-richter/
Cole Carothers shares thoughts on a painting by Gerhard Richter in the Cincinnati Art Museum. Carothers writes: "[Richter's] relationship with action painting feels different. Where the Americans, paint 'inside the painting' as if they are part of an heroic landscape that is new world/American, Richter's mindset is distinctly psychological... His expressiveness seems more tragic, introverted, gawkward and cathartic. Spontaneity in his touch and gesture proceeds decisively and deliberately as a sequence of layers that reveal new relationships while simultaneously dissecting his emotional self."
Link to Post:
http://vernissage.tv/blog/2008/01/25/gerhard-richter-paintings-from-private-collections-museum-frieder-burda-baden-baden/
