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Abstract
This lecture will explore the precarious coexistence of a variety of figurative representational conventions in the work of Gerhard Richter. Beginning with his education as a Socialist Realist Mural painter in Dresden and culminating in the radical abnegation and reversal of the terms of his artistic production after his arrival in the West in 1961.
The paper will attempt to clarify how various models of anti-modernist returns to representation (Neo-Classicist and Realist) formed the general background of Richter's history: the initial presence of New Objectivity, the Fascist enforcement of a particularly insiduous type of Neo-Classicism, the Socialist fusion and variation of both legacies after 1948 in the DDR at the Academy in Dresden where Richter received his first education and the eventual adaptation to the photographic modes of representation under the impact of American Pop Art.
This attempt at an archaeology of painterly practices could explain Richter's apparently enigmatic commitment to a project of painterly discontinuity and rupture.
Artists / Authors
- Benjamin H. D. Buchloh, Professor für Kunstgeschichte, Barnard College der Columbia University, New York › Biography
Date(s)
- May 18, 2002
Organizer
Getty Research Institute, Los Angeles und Haus der Kulturen der Welt, Berlin.
Location
Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Germany
Submission
, May 22, 2003
Category
- Lecture
Keywords
Additions to Keyword List
- Gerhard Richter |
- Bildproduzenten |
- Realismus |
- Bildproduktion