Große Kunstausstellung München 1965: 14 Aspekte heutiger Kunst

The catalogue documents the annual exhibition Große Kunstausstellung München at Haus der Kunst that was held in Munich in 1965. It contains, amongst others, the special exhibition 14 Aspekte heutiger Kunst, which was organized by Neue Gruppe and showed three works by Gerhard Richter. The exhibition completes the diversity of the German art scene with contemporary contributions.

The catalogue includes an image of Gerhard Richter’s work Two Fiats [CR: 67] alongside the works by Peter Brüning, Rupprecht Geiger, Winfried Gaul, K. O. Götz, Gerhard Hoehme, O. H. Hajek, Ernst Hermanns, George Karl Pfahler, Otto Piene, Bernhard Schultze, Emil Schumacher, Fred Thieler, Mac Zimmermann, Richard Oelze, Edgar Ende, URSULA, Rosemarie Bremer, Horst Hödicke, Walter Stöhrer and Konrad Lueg.

A text by Manfred de la Motte introduces the special exhibition 14 Aspekte heutiger Kunst.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

The catalogue Gerhard Richter. Bilder / Serien accompanies Gerhard Richter’s eponymous exhibition at the Fondation Beyeler. The show is curated by Hans Ulrich Obrist, a longstanding friend of Richter, and looks back at 60 years of the artist’s work. The exhibition focuses on work he created since the 1960s; namely, series, cycles and interior spaces. According to Obrist, too little attention has been devoted to this specific section of his oeuvre to date. Works exhibited in groups are juxtaposed with single pieces, which act as both counterpoints characteristic of Richter’s style, yet simultaneously illuminate the similarities between the different bodies of work.

Besides illustrations of the exhibited paintings, the catalogue also includes text contributions by Sam Keller, Hans Ulrich Obrist and Dieter Schwarz. The essays by Obrist and Schwarz primarily analyse Richter’s series. An interview between the curator and Richter reveals the background of the development of the series. Furthermore, the catalogue includes a letter by George Didi-Huberman, who shares his thoughts after a visit to the artist’s studio.

The catalogue Gerhard Richter. Pictures / Series accompanies Gerhard Richter’s exhibition at the Fondation Beyeler. The show is curated by Hans Ulrich Obrist, a longstanding friend of Richter, and looks back at 60 years of the artist’s work. The exhibition focuses on work he created since the 1960s; namely, series, cycles and interior spaces. According to Obrist, too little attention has been devoted to this specific section of his oeuvre to date. Works exhibited in groups are juxtaposed with single pieces, which act as both counterpoints characteristic of Richter’s style, yet simultaneously illuminate the similarities between the different bodies of work.

Besides illustrations of the exhibited paintings, the catalogue also includes texts contributed by Sam Keller, Hans Ulrich Obrist and Dieter Schwarz. The essays by Obrist and Schwarz primarily analyse Richter’s series. An interview between the curator and Richter reveals the background of the development of the series. Furthermore, the catalogue includes a letter by George Didi-Huberman, who shares his thoughts after a visit to the artist’s studio.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter. A Life in Painting gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This English translation of the biography Gerhard Richter, Maler by Dietmar Elger, published in 2009, was slightly revised for the Anglophone reader.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This edition of the biography Gerhard Richter, Maler published in 2008 was slightly revised to include details of more recent events in Richter’s life.

Gerhard Richter in der Dresdener Galerie is the 7th volume from the publications of the Gerhard Richter Archive Dresden.

On the occasion of the re-opening of the Albertinum in 2010 the artist himself curated two rooms of the museum. Whereas the first room is dedicated to thirteen paintings from the years 1963 to 2000, the second room presents the work 9 Upright Standing Panes [CR: 879-3], as well as the series of reverse glass paintings Aladdin [CR: 913/1-42].

Text by Dietmar Elger.

This catalogue raisonné records Richter’s works in the years 1993-2004.

In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.