Literature

The artworks that are discussed and illustrated in this book pre-date the official starting point (1962) of the catalogue raisonné. Therefore, they are neither listed in the printed catalogue raisonné nor on the website.

As part of a comprehensive scholarly reassessment, art historian and director of the Gerhard Richter Archive Dresden Dietmar Elger published the fourth of six planned volumes of Gerhard Richter's Catalogue Raisonné.

It includes works from the years 1988 to 1994 with the numbers 652-1 to 805-6, which Richter himself assigned to the works. In addition to numerous images, the book also includes complete technical information for all works, his handwritten assigned titles, and the provenance of all individual works. Remarks, quotations and comparative illustrations complement the exhibition details and bibliographical references.

The catalogue Gerhard Richter. Pictures / Series accompanies Gerhard Richter’s exhibition at the Fondation Beyeler. The show is curated by Hans Ulrich Obrist, a longstanding friend of Richter, and looks back at 60 years of the artist’s work. The exhibition focuses on work he created since the 1960s; namely, series, cycles and interior spaces. According to Obrist, too little attention has been devoted to this specific section of his oeuvre to date. Works exhibited in groups are juxtaposed with single pieces, which act as both counterpoints characteristic of Richter’s style, yet simultaneously illuminate the similarities between the different bodies of work.

Besides illustrations of the exhibited paintings, the catalogue also includes texts contributed by Sam Keller, Hans Ulrich Obrist and Dieter Schwarz. The essays by Obrist and Schwarz primarily analyse Richter’s series. An interview between the curator and Richter reveals the background of the development of the series. Furthermore, the catalogue includes a letter by George Didi-Huberman, who shares his thoughts after a visit to the artist’s studio.

The catalogue Gerhard Richter. Bilder / Serien accompanies Gerhard Richter’s eponymous exhibition at the Fondation Beyeler. The show is curated by Hans Ulrich Obrist, a longstanding friend of Richter, and looks back at 60 years of the artist’s work. The exhibition focuses on work he created since the 1960s; namely, series, cycles and interior spaces. According to Obrist, too little attention has been devoted to this specific section of his oeuvre to date. Works exhibited in groups are juxtaposed with single pieces, which act as both counterpoints characteristic of Richter’s style, yet simultaneously illuminate the similarities between the different bodies of work.

Besides illustrations of the exhibited paintings, the catalogue also includes text contributions by Sam Keller, Hans Ulrich Obrist and Dieter Schwarz. The essays by Obrist and Schwarz primarily analyse Richter’s series. An interview between the curator and Richter reveals the background of the development of the series. Furthermore, the catalogue includes a letter by George Didi-Huberman, who shares his thoughts after a visit to the artist’s studio.

This book was published in conjunction with the exhibition Polke / Richter. Dokumentation einer Ausstellung in 2014. It makes reference to the joint exhibition of Gerhard Richter and Sigmar Polke, which was held in gallery h in Hannover in March 1966 as well as the original artist’s book that was published in connection with the exhibition. This new publication compares the layout of the original artists's book with its earlier drafts to demonstrate the artist’s book’s style of collage. It contains photographs of the exhibition in Hannover as well as letters between Sigmar Polke and August Haseke, the former director of gallery h, in which they discussed the exhibition.

In the text contribution, Dietmar Elger analyses the relationship between the art students from Dusseldorf, including Gerhard Richter, Sigmar Polke, Konrad Lueg and Manfred Kuttner, who often worked together. He demonstrates the ways in which the collaboration between Polke and Richter came about and traces the development of Richter’s first artist’s book.