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Titre:
Gerhard Richter : 4900 Colours

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Résumé:
Gerhard Richter’s 4900 Colours from 2007 is a major new work consisting of bright monochrome squares that have been randomly arranged in a grid pattern to create stunning fields of kaleidoscopic color. It was produced at the same time he developed his design for the south transept window of Cologne Cathedral, unveiled in August 2007, which is made up of 11,500 handcrafted squares of glass in seventy-two colors. Published on the occasion of the exhibition "Gerhard Richter 4900 colours : version II" held at the Serpentine Gallery, London, 23 September - 16 November 2008.

Titre:
Gerhard Richter: textes, 1962-1993

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Bien que Richter se soit exprimé à maintes reprises par la parole et l'écrit, jusqu'à présent il s'est toujours montré réservé quant à la publication de ses textes. Hormis de nombreuses interviews, seuls quelques fragments de textes isolés ont été publiés ici et là. Outre ses notes et extraits de journal écrits au fil des mots, trouvera-t-on des essais, des lettres, prises de positions et déclarations, manifestes, entretiens, conversations et dialogues. Les notes écrites de Richter accompagnent l'acte de peindre, elles le mettent en question et subissent même son correctif. Au lieu d'un texte anticipatoire et explicite, apparaissent une pensée synchrone et une réflexion ultérieure, raisonnée au sens le plus littéral du terme, où le réfléchir sur soi-même est le prolongement du doute. Comme nul autre artiste contemporain, Richter s'interroge sur le possible et l'impossible, sur la fonction et l'autonomie de l'art actuel.

Titre:
Gerhard Richter: EIS

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Gerhard Richter has increasingly turned towards the artist's book to explore possibilities of sequencing and narrative. Eis combines German-only encyclopedia texts on Arctic regions with color photographs of ice floes and icebergs. Both texts and photographs are printed across split pages to read upside-down in either direction.

Titre:
Gerhard Richter - Zufall, das Kölner Domfenster und 4900 farben the cologne cathedral window, and 4900 colours

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Résumé:
This volume documents Gerhard Richter's 65-foot-tall, abstract, stained-glass window for Germany's historic Cologne Cathedral, the original of which was destroyed by bombs in World War II, and thereafter replaced with clear glass. Composed of more than 11,000 four-inch squares, or "pixels," in 72 colors, the window is based on Richter's 1974 painting, "4096 Colors," a grid of monochromatic squares 64 tall and 64 wide (for a total of 4096 squares) which was organized and designed according to a mathematical formula that systematically mixed red, yellow, blue and gray. Photographs of the work are accompanied by three essays which integrate this important work into the context of Richter's oeuvre, and shed light on the principle of randomness on which it is based. Gerhard Richter was born in Dresden and escaped to West Germany in 1961. He has lived and worked in Cologne, where he was made an honorary citizen last year, since the early 1980s.

Titre:
Gerhard Richter : sils

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Résumé:
"Sils" opened a new collection of small-format artist’s books published by Ivorypress and desig-ned by the artists themselves. The book, designed by Gerhard Richter, includes photographs taken and painted-over by the artist, as well as texts by Hans-Ulrich Obrist and Peter André Bloch.

Titre:
Gerhard Richter: Obrist-O'Brist

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Gerhard Richter and Hans Ulrich Obrist first met in 1985. Their professional collaborations began seven years later, when the 24-year-old Obrist curated his first Richter exhibition; the following year he published a collection of his writings. Now Gerhard Richter has dedicated an artist's book to this longstanding relationship. The texts in Obrist-O'Brist have been produced by rearranging Obrist's interviews using a random generator, setting the results in blocks without discrete passages or paragraphs. The color plates are made up of photographs—both portraits and mementos—of Hans Ulrich Obrist, from the past 15 years, and photos of Richter's own paintings, which Richter has then painted over using brushes and scrapers. Chiming with many currents in contemporary writing and bookmaking, Obrist-O'Brist is an adventure from cover to cover; it even has two different sleeves, and can be approached from either end (as frequent upside-down pages indicate).

Titre:
Gerhard Richter: atlas

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Résumé:
This publication maps the ideas, processes, life and times of one of the most important painters of our time. Conceived and closely edited by Gerhard Richter himself, Atlas cuts straight to the heart of the artist's thinking, collecting more than 5,000 photographs, drawings and sketches that he has compiled or created since the moment of his creative breakthrough in 1962. Year by year, the images closely parallel the subjects of Richter's paintings, revealing the orderly but open-ended analysis that has been so central to his art. Offering invaluable insight into Richter's working process, this encyclopedic new edition, which completely revises and updates the rare, out-of-print 1997 edition and includes 147 additional plates, features 780 multi-image panels, each reproduced full page and in full color. Richter redefined the terms of contemporary painting as he looked to photography for a way to release painting from the political and symbolic burdens of Socialist Realism and Abstract Expressionism. From pictures of family and friends to images from the mass media, Richter's photographs - sometimes found, sometimes original - have provided the basis for many of his paintings, often re-emerging in a luminous, monochromatic palette, and falling ambiguously between documentary and historical painting.

Titre:
Gerhard Richter: overpainted photographs

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Résumé:
Gerhard Richter is famed for the photorealism of his early canvases, but it is less well known that he has also painted directly onto photographic prints. This book gathers this body of work, which unites the labor of the hand with the work of mechanical reproduction to produce a kind of art as conceptually rich as Richter's better-known paintings, neutralizing the expressive powers of each medium to reach an indifference to their potency.

Titre:
Copy, archive, signature: A conversation on photography

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Résumé:
This book makes available for the first time in English an important interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel. Their conversation addresses questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Questioning the divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today.

Titre:
Gerhard Richter: Atlas, the reader

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Résumé:
Gerhard Richter’s ongoing, encyclopedic Atlas project began in 1964, and now comprises more than 5,000 gridded photographs, diagrams, drawings and sketches. As an image archive, work tool and artist’s book, Atlas sits at the very heart of Richter’s practice, offering a massive summation of his masterful explorations of the tensions between photography and painting, history and memory, perception and representation. As a publication, Atlas has gone through numerous editions, each new volume expanding on the previous with elaborations of persistent themes. This book provides a critical tool for navigating Atlas, bringing together Richter’s own writings alongside commentaries by the art historians and curators Armin Zweite, Jean-François Chevrier, Benjamin H.D. Buchloh, Lynne Cooke and Helmut Friedel. Originally published in 2003 to coincide with the Whitechapel Gallery’s exhibition Gerhard Richter: Atlas, this updated edition also includes a review of the exhibition by Adrian Searle.