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German artist Gerhard Richter (b. 1932) is widely regarded as one of the most important painters at work today. His diverse body of work has been exhibited at major institutions worldwide and in 2001, he was given a solo retrospective at The Museum of Modern Art in New York. The Cage Paintings, conceived as a single coherent group and first displayed at the Venice Biennale in 2007, pay homage to the American avant-garde composer John Cage (1912-1992), who famously declared “I have nothing to say and I’m saying it.” Richter, equally suspicious of ideologies, shies away from giving psychological interpretations of his paintings, preferring to allow viewers and critics to make up their own minds.
In this strikingly illustrated volume, critic Robert Storr considers the importance of The Cage Paintings within Richter’s practice and within the wider context of abstract art. A series of extraordinary photographs document the development of each of these monumental canvases, giving unique insight into Richter’s artistic approach.
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New York artist Alexander Ross makes some of the weirdest images around. Cartoonish, psychedelic, anthropomorphic, retro-futuristic, organic and mutant--like all good science fiction they manage to be serious, terrifying and funny at once. This stunning volume collects drawings made since 2000....
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Ranging from photo-based pictures to gestural abstraction, Gerhard Richter's diverse body of work calls into question many widely held attitudes about the inherent importance of stylistic consistency, the "natural" evolution of individual artistic sensibility, the spontaneous component of creativity, and the relationship of technological means and mass media imagery to traditional studio methods and formats. Unlike many of his peers, he has explored these issues through the medium of painting, challenging it to meet the demands posed by new forms of conceptual art. In every level of his varied output--from his austere photo-based realism of the early 60s, to his brightly colored gestural abstractions of the early 80s, to his startling cycle of black-and-white paintings of the Baader-Meinhof group--Richter has assumed a critical distance from vanguardists and conservatives alike regarding what painting should be. The result has been among the most convincing renewal of painting's vitality to be found in late 20th- and early 21st-century art. With an extensive and insightful critical essay by curator Robert Storr, a recent interview with the artist, a chronology, an exhibition history, and nearly 300 color and duotone reproductions, "Gerhard Richter: Forty Years of Painting" marks a significant contribution to the understanding of contemporary art in general, and Gerhard Richter in particular. By Robert Storr. 10 x 11.25 in.
138 color, 87 duotone illustrations...
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