Gerhard Richter produced November, a series of 54 works in ink, in 2008. These works were created using a variety of ways to manipulate the consistency of ink and its flow on highly absorbent paper. The ink permeated through the sheets creating two related images, one on the front and one on the back of each of the altogether 27 sheets. In some cases Richter also applied lacquer or pencil.

The artist had a complete set of facsimiles made so both sides of the 27 sheets could be viewed at the same time. However, the sequence of mirrored pairs of images is disrupted, as some of the motifs have been rotated by 180 degrees. The book displays the images of the pairs, one on the front and one on the back of each page and ends with an overview of all 54 works. Every page is dated, mainly in sequence of their production.

The publication Gerhard Richter: Elbe. 31 Monotypien, 1957 is the 4th volume of publications from the Gerhard Richter Archive, Dresden, and is dedicated to 31 monotypes, which Richter created in 1957. Before Richter fled from the GDR in 1961, he left the prints in the safekeeping of a friend.
The works are the result of experiments that Richter had undertook with an ink roller during a printing course. The monotypes appear as abstracted landscapes and foreshadow Richter's later Abstract Paintings.

When Gerhard Richter saw the works again, almost 30 years later, he entitled them Elbe, which is the name of the river running through Dresden. These monotypes are considered to be the earliest officially recognised works by the artist.

With a foreword by Dietmar Elger and a text contribution by Dieter Schwarz.

See all Elbe works here

Published on the occasion of the exhibition Gerhard Richter. 40 Years of Painting at the Museum of Modern Art, New York, this publication represents a broad range of Gerhard Richter's paintings of the last 40 years.

Gerhard Richter's diverse body of work questions broadly held attitudes about the inherent importance of stylistic consistency for an artist. It ranges from photo-based pictures all across the board to gestural abstraction. The 'natural' evolution of individual artistic sensibility, the spontaneous component of creativity and the relationship of technological means and mass media imagery to traditional studio methods and formats. Richter has always kept his distance from revolutionaries and conservatives alike regarding what painting “should” be. This has resulted in what has been among the most convincing renewal of painting's vitality in late 20th- and early 21st-century art.

This publication consists of a critical essay by curator Robert Storr, a rare interview with the artist himself, a chronology, an exhibition history, and nearly 300 colour and duotone reproductions.

Published on the occasion of the exhibition Gerhard Richter. 40 Years of Painting at the Museum of Modern Art, New York, this publication represents a broad range of Gerhard Richter's paintings of the last 40 years.

Gerhard Richter's diverse body of work questions broadly held attitudes about the inherent importance of stylistic consistency for an artist. It ranges from photo-based pictures all across the board to gestural abstraction. The 'natural' evolution of individual artistic sensibility, the spontaneous component of creativity and the relationship of technological means and mass media imagery to traditional studio methods and formats. Richter has always kept his distance from revolutionaries and conservatives alike regarding what painting “should” be. This has resulted in what has been among the most convincing renewal of painting's vitality in late 20th- and early 21st-century art.

This publication consists of a critical essay by curator Robert Storr, a rare interview with the artist himself, a chronology, an exhibition history, and nearly 300 colour and duotone reproductions.