Alexander Kluge

Gerhard Richter

In the historic tradition of calendar stories and calendar illustrations, this work presents a collection of thirty-nine stories and thirty-nine snow-swept photographs for the darkest month of the year. It includes stories drawn from modern history and the contemporary moment, from mythology, and even from meteorology.

39 Stories, 39 Pictures

December

A collection of the German pop painter's notes, correspondence, journal entries, interviews, and public statements on exhibitions, much of it translated into English for the first time, chronicling all periods of his career and revealing his intentions, methods, and sources of his works. Includes n

Writings and Interviews, 1962-1993

The Daily Practice of Painting

Achim Borchardt-Hume

Gerhard Richter is widely seen as one of the most important painters at work in the world today. As the artist draws near to his eightieth birthday in 2012, Tate Modern in collaboration with the Neue Nationalgalerie, Berlin, and the Centre Pompidou, Paris, is staging a major retrospective exhibition.

Panorama

Robert Storr

Forty Years of Painting

Städtische Kunsthalle Düsseldorf

Jürgen Harten

Bilder

Dietmar Elger

Catalogue Raisonné, 1988-1994

Florence

Landscapes

Mark Dion

Thomas Ruff

Lawrence Weiner

Helen Mirra

WARUM IST LANDSCHAFT SCHÖN?

BELVEDERE

Gerhard Richter's study argues that the concept of 'afterness' is key to understanding the thought and aesthetics of modernity. He pursues such questions as what it means for something to 'follow' something else and whether what follows marks a clear break with what comes before. The book's various analyses illuminate Lyotard's apodictic statement that 'after philosophy comes philosophy. But it has been altered by the after'. The book demonstrates, that much hinges on our interpretation of the 'after'.

Figures of Following in Modern Thought and Aesthetics

Afterness

Helmut Friedel

"This monumental publication maps the ideas, processes, life and times of one of the most important painters of the late twentieth century. Having left East Germany in 1961, where he had already established a reputation as a Realist painter, Gerhard Richter went on to attend the Dusseldorf Academy, striking out on a radical new path and changing the history of painting as he looked to photography for a way to release painting from the political and symbolic burdens of Socialist Realism and Abstract Expressionism." "Conceived and closely edited by Gerhard Richter himself, Atlas cuts straight to the heart of the artist's work, presenting the photographs, drawings and sketches that he has compiled or created since the moment of his creative breakthrough in 1962. From pictures of family and friends to images from the mass media, Richter's photographs - sometimes found, sometimes original - have provided the basis for many of his paintings, often re-emerging in a luminous, monochromatic palette, and falling ambiguously between documentary and historical painting. The images closely parallel, year by year, the subjects of Richter's paintings, revealing the orderly but open-ended analysis that has been so central to his art. Offering invaluable insight into Richter's working process, this monumental new edition, which completely revises and updates the rare, out-of-print 1997 edition, features 783 multi-image sheets, each reproduced full page and in full color."--BOOK JACKET.

Atlas

In this book, Gerhard Richter explores the aesthetic and political ramifications of the literary genre of the Denkbild, or thought-image, as it was employed by four major German-Jewish writers and philosophers of the first half of the twentieth century: Theodor W. Adorno, Walter Benjamin, Ernst Bloch, and Siegfried Kracauer. The Denkbild is a poetic mode of writing, a brief snapshot-in-prose that stages the interrelation of literary, philosophical, political, and cultural insights. Richter's careful analysis of the linguistic characteristics of this mode of writing sheds new light on pivotal concerns of modernity, including the fractured cityscape, philosophical problems of modern music, the experience of exiled homelessness, and the disaster of Auschwitz. Thought-Images not only reorients our understanding of the Frankfurt School of Critical Theory in important ways but also establishes significant links between these writers and contemporary French thinkers such as Jacques Derrida.

Frankfurt School Writers' Reflections from Damaged Life

Thought-images

Hans Ulrich Obrist

Georges Didi-Huberman

Over the sixty years of his career Gerhard Richter has produced a standard-setting oeuvre whose thematic and stylistic diversity has no equal among the art of our time.

Pictures / Series

41 Gemälde hat Gerhard Richter seiner Heimatstadt Dresden geschenkt. Darunter so bedeutende wie >11 Glasscheiben (2004) Spiegel (1986) und Acht Lernschwestern

Gerhard Richter im Albertinum Dresden

"This volume makes available a comprehensive selection of Richter texts, several published for the first time. These texts come from all periods of his career: letters and interviews; public statements about specific exhibitions; private reflections drawn from personal correspondence; answers to questions posed by critics; and excerpts from journals discussing the intentions, subjects, methods and sources of his work from various periods. Complete with a comprehensive appendix, and accompanied by over a hundred photographs of artworks, works in progress, exhibition installations, and colleagues and family, this book forms a brilliantly illuminating commentary on Richter's art, as well as providing a thought-provoking discussion on the status of art and the artist in society today."--BOOK JACKET.

Gerhard Richter: Writings

The twenty-one original essays in this volume offer a rigorous reconsideration of modern forms of paternity and friendship as they emerge in works by writers and philosophers from the eighteenth through the twentieth century. Exploring various models of these twin themes, contributors examine writings of canonical figures such as Goethe, Schiller, Hölderlin, Kleist, and Brentano, as well as Kafka, Benjamin, and Arendt. Together, the essays combine an emphasis on the German literary-philosophical tradition with comparative approaches, offering both theoretical discussions and sophisticated readings of crucial texts that have helped shape our contemporary literary engagement with paternity and friendship. This collection honors Stanley Corngold, an influential scholar and teacher who taught German at Princeton University for more than forty years.

Essays in Honor of Stanley Corngold

Literary Paternity, Literary Friendship

What Theodor W. Adorno says cannot be separated from how he says it. By the same token, what he thinks cannot be isolated from how he thinks it. The central aim of Richter’s book is to examine how these basic yet far-reaching assumptions teach us to think with Adorno—both alongside him and in relation to his diverse contexts and constellations. These contexts and constellations range from aesthetic theory to political critique, from the problem of judgment to the difficulty of inheriting a tradition, from the primacy of the object to the question of how to lead a right life within a wrong one. Richter vividly shows how Adorno’s highly suggestive—yet often overlooked—concept of the “uncoercive gaze” designates a specific kind of comportment in relation to an object of critical analysis: It moves close to the object and tarries with it while struggling to decipher the singularities and non-identities that are lodged within it, whether the object is an idea, a thought, a concept, a text, a work of art, an experience, or a problem of political or sociological theory. Thinking with Adorno’s uncoercive gaze not only means following the fascinating paths of his own work; it also means extending hospitality to the ghostly voices of others. As this book shows, Adorno is best understood as a thinker in dialogue, whether with long-deceased predecessors in the German tradition such as Kant and Hegel, with writers such as Kafka, with contemporaries such as Benjamin and Arendt, or with philosophical voices that succeeded him, such as those of Derrida and Agamben.

The Uncoercive Gaze

Thinking with Adorno

"Overpainted photographs have been an important part of Gerhard Richter's work since 1989. Despite their modest size these works are central to Richter's art, for more than any other group of works they are mid-way between representational depiction and autonomous painting." "Between November 1999 and March 2000 Richter produced 100 overpainted photographs which predominantly use shots taken by the artist himself in Florence. Their motifs have been elaborately reworked in a variety of ways, with the result that different levels of reality, illusionistic landscape painting and the materiality of the paint itself seem to merge inextricably into each other. Within this ongoing series individual motifs are introduced as different themes, at times giving way to other motifs, only to re-emerge again later. This book publication includes the whole group which was never exhibited as such, and reconstructs the original concept of the work."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

B. H. D. Buchloh

Dieter Schwarz

This up-to-the-minute volume presents new, large-scale works by Gerhard Richter, most of which have never before been published. Four 2005 drawings reproduced at 1:1 scale complete the picture.

Paintings from 2003-2005

Guy Tosatto

Musée de Grenoble

Un panorama des réalisations de l'artiste, des thèmes nouveaux et une oeuvre multiforme, entre réalisme photographique et abstraction. Les paysages, natures mortes, portraits ou scènes d'actualité reconsidèrent les rapports entre les arts de la représentation. Les réalisations révèlent la vie du peintre, ses rencontres et ses voyages.

Gerhard Richter

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