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Versammlung
Meeting 1966 Catalogue Raisonné: 119

Biography 1 Result

1964–1970: Getting Established

Towards the end of his studies at the Düsseldorf Academy, Richter had laid the foundations for his practice, setting up an interchange between photography and painting that was to be equally important for him as for later art-historical accounts of the Post-War period. Just before the end of term in 1964, Munich-based gallerist Heiner Friedrich invited Richter to feature in an exhibition alongside Peter Klasen. This proved to be a fruitful relationship over the next eight years, involving[...]

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So, in 1966, when you started to paint non-figurative pictures, colours charts, did that also have something to do with a head-on confrontation with Minimal art? Was that another conflict situation, a rejection of American dominance, or was it through an evolutionary process of your own, rooted in the immediate, local context here in Düsseldorf? Was it through Meeting Palermo, perhaps?
Yes, it certainly did have something to do with Palermo and his interests, and later with Minimal art as well; but when I painted my first colour charts in 1966, that had more to do with Pop Art. They were copies of paint sample cards, and what was effective about them was that they were directed against the efforts of the Neo-Constructivists, Albers and the rest.

Interview with Benjamin H. D. Buchloh, 1986, 1986 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14