Gerhard Richter and Jorge Pardo: Refraction

Catalogue accompanying the exhibition Gerhard Richter. Acht Grau at the Deutsche Guggenheim, Berlin, Germany.

This exhibition catalogue for the Deutsche Guggenheim Berlin details Richter’s experiments with glass and mirrors, and their relationship to painting. Alluding to a modern interpretation of the momento mori, he tackles the apparent nothingness, the void through his large grey mirror pieces. Nearly 50 drawings from 1965 to the present, as well as studies for the Berlin installation have been included.

This publication concludes with an essay by Richter expert Benjamin H.D. Buchloh.

This catalogue was published on the occasion of the exhibition Richter en France at the Musée de Grenoble in 2009.
Both the exhibition and catalogue are dedicated to works by Gerhard Richter that belong to public collections and museums in France. The artworks offer an insight into Richter’s different creative periods. Despite an emphasis on abstract paintings of the 1980s, paintings after photographs, grey monochrome pictures and drawings are also taken into account.

The text contributions provide an overview of Richter's œuvre and address grey paintings and glass works, as well as drawings separately.

Text contributions by Guy Tosatto, Jean-Pierre Criqui and Jonas Storsve.

This catalogue raisonné of Gerhard Richter's drawings encompasses works in pencil, India ink, ballpoint pen, and other drawing media, on both paper and canvas since 1964. This comprehensive survey presents more than 400 drawings, each with descriptive captions and background text, as well as essays by Dieter Schwarz and Birgit Pelzer that investigate this crucial component of one of the 20th century's most celebrated painters.

Catalogue accompanying the exhibition Gerhard Richter. Eight Gray at the Deutsche Guggenheim, Berlin, Germany.

This exhibition catalogue for the Deutsche Guggenheim Berlin details Richter’s experiments with glass and mirrors, and their relationship to painting. Alluding to a modern interpretation of the momento mori, he tackles the apparent nothingness, the void through his large grey mirror pieces. Nearly 50 drawings from 1965 to the present, as well as studies for the Berlin installation have been included.

This publication concludes with an essay by Richter expert Benjamin H.D. Buchloh.