Gerhard Richter: Achromatic

$42.00

Description

• English / German, Softcover
 120 pages
• 26.5 x 21 cm
• 
9783932729287
• Published by 
Sies + Höke, 2021

About

Gerhard Richter: Achromatic was published on the occasion of an exhibition of the same title, focussing on works by Gerhard Richter that “do without colour”, highlighing the conceptual nature of his artistic approach. The exhibition took part at Sies + Höke in 2021.

In contrast to his colour-intensive abstractions, which have dominated Gerhard Richter's oeuvre for decades, works that refuse any colouring are the focus of this publication. From the beginning of Richter’s creative output, grey tones have been a central theme - from figurative and non-representational paintings and prints to photographs and objects. The artist attaches central importance to the colour grey. For him, it stands for blurriness and neutrality, in short: for Richter's freedom to be without judgement: For me, grey is the welcome and only possible equivalent to indifference, refusal to make a statement, lack of opinion, lack of form. (Gerhard Richter, 1975).

This publication features images of 32 works of various techniques, from paintings to sculptures and objects, editions and photographs, dating from 1965 to 2019. It includes three essays: Landscape between Nature and Abstraction as well as Behind the Curtain by Dietmar Elger and Gerhard Richter: The Variety of Achromatic Images by Hubertus Butin.

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Gerhard Richter | Achromatic

Gerhard Richter | Achromatic

They are a contrast to his colour-intensive abstractions, which have dominated Gerhard Richter's late work for around twenty years: Works that refuse any colouring. From the beginning of his work, grey tones have been a central theme in all of the artist's work groups - from figurative and non-representational paintings and prints to photographs and objects. The exhibition at Sies + Höke is dedicated to this reduced and at the same time extremely complex understanding of art, which for Richter is far more than pure painting. On the basis of over 30 works from 1965 to 2019, it becomes clear to what extent grey - or rather: the renunciation of any seductive power of colour - can be understood as the conceptual superstructure of Richter's oeuvre as a whole. But how did it come about?
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