Gerhard Richter: Abstrakte Bilder (German Edition)

Arts & Photography

Stemmrich, Gregor

Buchloh, Benjamin H.D.

History & Criticism

Hatje Cantz Verlag

Talking to art historian Benjamin Buchloh in 1988, Gerhard Richter cited the appearances of Jackson Pollock and Lucio Fontana at the second Documenta in Kassel in the late 50s as decisive encounters for his then-incipient art. Just a few years later, Richter would style himself as a German "Pop" artist, but in the 80s he returned to pure abstraction for its possibilities of "bitter truth, liberation, and... a completely different and new content... expressing itself." His abstract paintings present a heavily worked surface, blurred and scraped to both veil and expose prior layers. In other words, they manage a tension between depth (layer) and strong horizontal activity (blur). Unlike much heavily worked abstraction, and in spite of their scale, their total effect is not heroic--Richter's almost-deadpan, process-oriented transparency cancels out such chest-beating--but the artist that responded to the direct energies of Pollock's work has clearly found a way, some decades later, to conjure both zest and detachment simultaneously. Abstraction has made up a dominant portion of Richter's output since the 80s, inaugurating a fruitful dialectic with figuration, and Large Abstracts collects works produced between 1986 and 2006. For this volume, Buchloh (once described by former Museum of Modern Art, New York, curator and current Dean of the Yale School of Art Robert Storr as, "the artist's longtime sparring partner") returns to the fray, and, along with Beate Söntgen and Gregor Stemmrich, offers critical insight on this iconic oeuvre.

Gerhard Richter: Large Abstracts

Buchloh, Benjamin

Reference

Hatje Cantz

Frank Stella is abstraction’s greatest living champion--the artist who, more than any other, has merged abstract painting with sculpture and architecture, pursuing the implications of his “what you see is what you see” stance. A forceful clarity of purpose and vision has characterized his art and his career from the start: he dominated the New York art scene of the late 1950s with his Black Paintings composed of stripes, which famously helped pave the way for Minimalism, and which were exhibited in The Museum of Modern Art, New York’s milestone exhibition Sixteen Americans, alongside Johns and Rauschenberg. In 1970 Stella became the youngest artist to receive a show at The Museum of Modern Art, by which time he had already blazed his way through several stylistic evolutions. To the surprise of many, the passionate race-car driver did not follow the seemingly inevitable route towards Minimalism, and instead followed a path that led him to ever more opulent and baroque reliefs. With this idiosyncratic turn “from Minimalist to Maximalist,” Stella developed into one of the boldest artists of the twentieth century. On the occasion of Stella’s comprehensive retrospective at the Kunstmuseum Wolfsburg, this massive survey celebrates the many lives of Frank Stella. It includes classic examples of each of his many periods, such as the Black Paintings, Irregular Polygons, the Protractor paintings, the Circuits series, the metal reliefs and floor sculptures of the past two decades and an “ArchiSkulptur” conceived by the artist exclusively for the exhibition. With more than 660 color reproductions, this volume is as ambitious and spectacular as its subject. Frank Stella was born in 1936, to first-generation Sicilians, and grew up in a suburb of Boston. In 1954 he entered Princeton University, where he took a night class in painting and drawing. His first solo exhibition was at the Leo Castelli Gallery in 1960.

Frank Stella

Bröker, Holger

Brüderlin, Markus

Robert Rauschenbergs Erased de Kooning Drawing (1953). Modernismus/Literalismus/Postmodernismus /ang

Lawrence Weiner's art uses language in reference to materials. Language itself is a material and at the same time a means of presentation of his work. Weiner evolved this approach in the context of the Conceptual art of the late 60s, yet he does not see his own work as "conceptual." The "space" he works within is the entire cultural context, and his works are associated with various different media and forms of presentation: books, posters, videos, films, records, drawings, multiples, installations indoors and outdoors, and more. Since his earliest days as a professional artist, Weiner has given written and verbal expression to questions concerning his work and its context. These utterances--statements, interviews, lectures and conference contributions--have been collected together in this publication for the first time, and ordered chronologically. Taken as a whole they afford an insight both into a complex individual biography and into the wider development of art and culture and the challenge that this entails.

Having Been Said: Writings & Interviews Of Lawrence Weiner 1968-2003

Hatje Cantz Publishers

Jeff Wall: Photographs

Unlike recent publications on Wall's work, this volume treats his oeuvre from a profoundly theoretical angle, inviting scholars to contribute to an understanding of the multi-layered character of his art and to focus on aspects that have up until now received little attention: Wall's reaction to the avant-garde discussion of the 1970s, his position within post-conceptual photography, his occupation with questions of film and film theory, his interest in popular iconography and his highly complex way of working. Published to accompany the noted exhibition at the Museum Moderner Kunst Stiftung Ludwig in Vienna, this essay collection also specifically concentrates on Wall's close link to the tradition of documentary photography and to photographers like Walker Evans and Dorothea Lange. Relevant to any discussion of contemporary photography, the book includes essays by Peter Brger, Homay King, Kaja Silverman, Fred Orton, and others.

SILVERMAN, Kaja

ORTON, FRED

Hochdörfer, Achim

Bürger, Peter

King, Homay

Tietjen, Friedrich

Individual Artists

Walther König, Köln

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