Gerhard Richter, Abstract Painting (894-11), 2005, 11 3/4 X 17 3/8 IN. ( 30 X 44 cm) (courtesy of Marian Goodman Gallery)
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."
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."
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."
"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.
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.