Ich bin mein Auto. Der Traum vom rasenden Körper

The catalogue documents the annual exhibition Große Kunstausstellung München at Haus der Kunst that was held in Munich in 1965. It contains, amongst others, the special exhibition 14 Aspekte heutiger Kunst, which was organized by Neue Gruppe and showed three works by Gerhard Richter. The exhibition completes the diversity of the German art scene with contemporary contributions.

The catalogue includes an image of Gerhard Richter’s work Two Fiats [CR: 67] alongside the works by Peter Brüning, Rupprecht Geiger, Winfried Gaul, K. O. Götz, Gerhard Hoehme, O. H. Hajek, Ernst Hermanns, George Karl Pfahler, Otto Piene, Bernhard Schultze, Emil Schumacher, Fred Thieler, Mac Zimmermann, Richard Oelze, Edgar Ende, URSULA, Rosemarie Bremer, Horst Hödicke, Walter Stöhrer and Konrad Lueg.

A text by Manfred de la Motte introduces the special exhibition 14 Aspekte heutiger Kunst.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

Gerhard Richter. Rot, Gelb, Blau by Helmut Friedel analyses and contextualises the paintings Red, Yellow and Blue [CR: 345/1-3] commissioned by BMW for their Munich headquarters, within the context of Richter’s œuvre.

During the years 1970 to 1980 Gerhard Richter frequently addressed paint as a means of painting and especially images of pastose brush strokes. This examination led to the large works Red, Yellow and Blue of 1973, each measuring 3 x 6 metres. The BMW headquarters themselves are also considered, as the space, for which Richter created the paintings.

A text contribution by Robert Storr places Red, Yellow, and Blue in an historical context and refers to the historical aspects that might have played a role in the creative process of the BMW works.

Gerhard Richter. Bilder einer Epoche was published on the occasion of the exhibition at Bucerius Kunstforum in Hamburg in 2011. Both the exhibition and the catalogue focus on Richter’s paintings of the 1960s that are based on photographical source images. The paintings and photographs, which were predominantly taken from magazines and advertisements of the era, are confronted with each other; Richter’s selective process is illuminated and categorised here.

Letters, which Richter wrote to his artist friends Helmut Heinze and Wieland Förster, can also be read for the first time in this publication, along with photographs of Richter’s studio at the time, and give a strong impression of his work in this period.

The cycle October 18, 1977 completes the works from the 1960s since its creative process refers to the earlier works. A comprehensive examination of the source material that lead to these paintings of members of the terrorist group Red Army Faction has also been carried out.

Contributions by Ortrud Westheider, Uwe M. Schneede, Dietmar Elger, Hubertus Butin and Dietmar Rübel.

Published to accompany the exhibition 40 | 10. 40 Jahre Sammlung – 10 Jahre Museum Frieder Burda, this catalogue looks at Burda’s collecting activities over the last 40 years. It also provides an overview of the museum’s exhibitions of the last 10 years.

One of the most comprehensive bodies of works are paintings by Gerhard Richter, whose work has played a crucial role since the beginning of Burda’s collection. Burda was particularly fascinated by the versatility of Richter's paintings, whose figurative and non-figurative art are of the same importance in his oeuvre. 

Richter’s works have featured in the majority of exhibitions held at the museum. Due to his prominent role in the collection, and with the help of loans, a large retrospective took place in the museum in 2008. The exhibition Gerhard Richter. Bilder aus privaten Sammlungen was a survey of 40 years of Richter’s work as a painter and emphasised his significance as an artist.

The catalogue contains an interview with collector Frieder Burda as well as written contributions by Hans-Joachim Müller and Wolfgang Pehnt.

The catalogue Gerhard Richter: Bilder aus privaten Sammlungen was published to coincide with exhibitions in Baden-Baden, Beijing, Edinburgh, Vienna and Duisburg in 2008 and 2009.

Works from the Böckmann, Frieder Burda and Ströher Collections, and also from other private collections are highlighted and allow an insight spanning 40 years of artistic creation. The paintings from the years 1963 – 2007 reflect both the history of post-war Germany and the development of Gerhard Richter’s painting.

With contributions by Götz Adriani and Dieter Schwarz.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This edition of the biography Gerhard Richter, Maler published in 2008 was slightly revised to include details of more recent events in Richter’s life.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter. A Life in Painting gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This English translation of the biography Gerhard Richter, Maler by Dietmar Elger, published in 2009, was slightly revised for the Anglophone reader.

This catalogue raisonné records Richter’s works in the years 1993-2004.

In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.

Gerhard Richter. Images of an Era was published on the occasion of the exhibition at Bucerius Kunstforum in Hamburg in 2011. Both the exhibition and the catalogue focus on Richter’s paintings of the 1960s that are based on photographical source images. The paintings and photographs, which were predominantly taken from magazines and advertisements of the era, are confronted with each other; Richter’s selective process is illuminated and categorised here.

Letters, which Richter wrote to his artist friends Helmut Heinze and Wieland Förster, can also be read for the first time in this publication, along with photographs of Richter’s studio at the time, and give a strong impression of his work in this period.

The cycle October 18, 1977 completes the works from the 1960s since its creative process refers to the earlier works. A comprehensive examination of the source material that lead to these paintings of members of the terrorist group Red Army Faction has also been carried out.

Contributions by Ortrud Westheider, Uwe M. Schneede, Dietmar Elger, Hubertus Butin and Dietmar Rübel.