- Gebundene Ausgabe: 104 Seiten
- Verlag: Hatje Cantz Verlag; Auflage: Bilingual (30. August 2005)
- Sprache: Englisch
- ISBN-10: 3775715835
- ISBN-13: 978-3775715836
- Größe und/oder Gewicht: 29 x 22,5 x 2 cm
- Amazon Bestseller-Rang: Nr. 1.189.892 in Bücher (Siehe Top 100 in Bücher)
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ohne Farbe stellt eine zentrale Werkgruppe im Schaffen von Gerhard Richter vor: Bilder, die ohne das eigentliche Material des Malers - die Farbe - auskommen. Die (Nicht-)Farben Schwarzweiß und Grau ziehen sich durch das gesamte Werk von Gerhard Richter: Das faszinierend weite Spektrum dieser Malerei ohne Farbe reicht zeitlich von den frühen sechziger Jahren bis heute, inhaltlich von den gegenständlichen, sich auf Schwarzweißfotos beziehenden Bildern bis zu vollkommen abstrakten Arbeiten. Grautöne genügen dem führenden Maler unserer Zeit, traditionelle Genres wie Historie, Porträt, Landschaft und Stillleben zu verhandeln und in grauen Schlierenbildern beziehungsweise Vermalungen, monochrom grauen Farbfeldbildern oder Spiegeln Grundfragen der Malerei nachzugehen. Es ergibt sich ein Querschnitt, der alles einschließt, was Malerei heute bedeuten kann - und dabei paradoxerweise im konsequenten Verzicht auf Farbe das Innerste der Malerei thematisiert.
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art in the margins of process ,working and existence
26. April 2006
Format:Gebundene Ausgabe
Richter has tried his hand in all genres,he is not afraid of failure, or merely constructing "dead" spaces, although nothing in art is ever "dead", it always has your attention; and there is a meaning there a content in not having an external focus, one that is readable to his viewers, this position assumes that art is something else, like the interesting quote of Adorno on philosophy that the reason it lives on is that the moment to realize it has passed, so to one can say of art. The use of monochromatic colours,one-dimensional is quite subtle exposition of this position, it means the artist is reduced, marginalized,flattened like its materials itself having a voice takened away like a voice that is "harsh" from over use,representation is nothing now,it is merely "work" transformation of materials, but here one finds one's voice,like one having in music perfect pitch, so to having a vision inside you for colour, and form,never goes away, and we know it when viewing art; art perhaps it now is only a caricature of what it once was.The shelf life of art is morphed eclipsed by its own processes. Many claim that Richter is not even a painter,well perhaps not as history would have one, was Pollock a painter? the squigee series of Richter is ample proof of allowing your materials to take over,the paint is arbitrary ,yet it is allowed to speak to have its own violence un-referenced;yet there is both some reserve here, not allowing a subjectivity into the proceedings yet allowing the paint to speak for itself through a shape, a form;although you still cannot see where the autonomous process ends and Richter begins,One Colour allows much to happen, you reduce one dimension only to make others more intense; his work still allows one to lead you into an area for contemplation even if it is only to take the pulse of art, that it has been reduced to whatever you see it is, similarly in the other arts things, objects, icons, materials being manipulated,rendered,placed, re-placed,surrounding it with a context already exisiting in the real world,at least allows the artist a means to create.Art may be simply setting a stage, a place for something to happen, or merely seeing what has already happened, as with the work of natural photographers,who play with the complexity of light minimally, yet I am drawn more to thses phots more than paintings. Perhaps because painting there are more decisions to make, ones burdened with the bagage of the museum. Richter has worked through this paradigm himself.He has done work simply for himself not others, as his early photographs
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study of a vein of major artist's work
1. Mai 2005
Format:Gebundene Ausgabe
While Richter's art works without color may not have received the attention as his other works, they make up about one third of this major contemporary artist's work. "The absence of color has become a leitmotif" of Richter's career of more than 40 years. The works without color are more than a contrast, like a shadow, alluding to primary works. For Richter, colorlessness has its own status and value. Richter remarks, "Gray is the welcome and only possible equivalence for indifference, non-commitment, absence of opinion, absence of shape." About 40 works of different shapes, sizes, and mediums in various shades of light and dark from a smoke-like gray to a dense, pitch, black with occasional flecks or limited hues of color illustrate Richter's regard of gray. One cannot understand Richter's place as one of the foremost contemporary artists nor his intents as an artist without taking into account this "motif" of his art based on this regard.
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