earliest panels '---- 1964) (c Site Map panels from 1970s ... · Gerhard Richter," Kunst- und...
Transcript of earliest panels '---- 1964) (c Site Map panels from 1970s ... · Gerhard Richter," Kunst- und...
Sel
ecte
d Bib
liog
rap
hy
Ger
hard
Ric
hter
. Lon
don
: Tat
e G
alle
ry,
1991
. Tex
ts b
y N
eal
Asc
hers
on, S
tefa
n
Ger
mer
, an
d Se
an R
ainb
ird.
Ger
hard
Ric
hter
. 3 v
ols.
Bon
n: K
unst
und
Aus
tellu
ngsh
alle
der
Bun
desr
epub
lik
Deu
tsch
land
, 19
93. T
exts
by
Ben
jam
in
H.D
. Buc
hloh
, Pet
er G
idal
, and
Bir
git
Pelz
er.
Ger
hard
Ric
hter
: Atl
as. M
unic
h:
Stlid
tisch
e G
aler
ie i
n L
enba
chha
us a
nd
Mus
eum
Lud
wig
, C
olog
ne,
1990
. Tex
t by
Arm
inZ
wei
te.
Par
kett
35
(199
3). "
Ger
hard
Ric
hter
Col
labo
ratio
n."
Tex
ts b
y Je
an-P
ierr
e
Cri
qui,
Pete
r G
idal
, Dav
e H
icke
y, G
ertr
ude
Koc
h, B
irgi
t Pel
zer.
Die
tric
h, D
orot
hea
. "G
erha
rd R
icht
er: A
n
Inte
rvie
w,"
The
Pri
nt C
olle
ctor
's
New
slet
ter
16, n
o. 4
(S
eptJ
Oct
. 19
85),
pp.
128-
32.
"Ger
hard
Ric
hter
/Jan
Tho
rn-P
rikk
er:
Rum
inat
ions
on
the
Oct
ober
18,
197
7
Cyc
le,"
Par
kett
19
(198
9),
pp.
143-
53.
Ger
hard
Ric
hter
was
bor
n in
Dre
sden
in
1932
. He
stud
ied
at th
e K
unst
akad
emie
in
Dre
sden
bet
wee
n 19
51 a
nd 1
956
befo
re m
ovin
g to
Diis
seld
orf
in 1
961.
Ove
r th
e ne
xt t
wo
year
s he
com
plet
ed h
is s
tudi
es a
t the
Diis
seld
orf
Kun
stak
adem
ie, w
here
he
has
been
Prof
esso
r si
nce
1971
. In
addi
tion
to p
artic
ipat
ing
wid
ely
in g
roup
sho
ws,
Ric
hter
has
had
num
erou
s on
e-pe
rson
exh
ibiti
ons
. In
1993
-94
, the
fou
rth
maj
or r
etro
spec
tive
of h
is w
ork
to d
ate
trav
eled
thr
ough
out
Eur
ope
.
Maj
or f
undi
ng f
or t
his
exhi
bitio
n ha
s be
en p
rovi
ded
by t
he L
anna
n Fo
unda
tion,
with
addi
tiona
l ge
nero
us s
uppo
rt f
rom
: L
ufth
ansa
Ger
man
Air
lines
; D
oris
and
Don
Fis
her;
Mim
i an
d Pe
ter
Haa
s; L
inda
and
Har
ry M
ackl
owe;
Ann
Ten
enba
um a
nd T
hom
as H
. Lee
;
and
the
mem
bers
of
the
Dia
Art
Cou
ncil
and
Art
Cir
cle.
Tha
nks
to R
aina
ld S
chum
ache
r fo
r hi
s as
sist
ance
on
the
proj
ect.
~
>--
--
I
Sit
e Map
earli
est
mos
t re
cent
pane
ls
pane
ls
'----
(c.
1995
) (c
. 19
64)
pane
ls f
rom
197
0s a
nd s
os
Atl
as, c
. 19
64-1
995
583
pane
ls
>--
--
each
pan
el 2
61 /.
i x 2
0\4
or 2
01,t.
i x l 4
Y2
Col
lect
ion
Diir
ckhe
im, G
erm
any
GE
RH
AR
D
RIC
HT
ER
Atl
as
1111
1 H
I I
11'
• , ...
I ~.I
rm
• I
•"
1§.!
•
,, ·1
\
I J
-L.
~ W
I• t~
E!~
-...-
.: .: :
II
... ••
I!"·
~
•a•
• x ~ ~ c:l
-s'
c:l
~ --
-~ " :, _g
"-
( \; (
Ap
ril 2
7, 1
995-
Sp
rin
g 1996
548 W
est 2
2nd
Str
eet,
New
Yo
rk C
ity
GE
RH
AR
D
RIC
HT
ER
Atl
as In
my
pict
ure
atla
s .. ./
can
onl
y ge
t a
hand
le o
n th
e fl
ood
of p
ictu
res
by
crea
ting
ord
er s
ince
the
re a
re n
o in
divi
dual
pic
ture
s at
all
any
mor
e.
-Ger
hard
R
icht
er
In 1
964
Ger
hard
Ric
hter
beg
an a
mas
sing
ont
o pa
nels
pho
togr
aphs
he
had
colle
cted
ove
r
the
prev
ious
few
yea
rs-s
omet
imes
as
pot
entia
l so
urce
s fo
r hi
s pa
intin
gs a
nd s
omet
imes
on
thei
r ow
n ac
coun
t. E
ight
yea
rs l
ater
the
se a
nd s
ubse
quen
t re
late
d pa
nels
wer
e ex
hibi
ted
in
Utr
echt
, Hol
land
, un
der
the
title
Atl
as v
an d
er J
oto
'sen
sc
hets
en (
Atl
as o
f pho
tos
and
sket
ches
). S
ince
the
n R
icht
er h
as c
ontin
ued,
alb
eit
inte
rmitt
ently
, to
sup
plem
ent
his
"pic
ture
alb
um."
' And
per
iodi
cally
it h
as b
een
retu
rned
to
publ
ic v
iew
: it
was
sho
wn
in
1976
in K
refe
ld,
1989
in M
unic
h, a
nd 1
990
in C
olog
ne.'
Rec
ently
upd
ated
, it
now
is
com
pris
ed o
f al
mos
t si
x hu
ndre
d pa
nels
and
som
e fi
ve t
hous
and
phot
ogra
phs.
Atl
as i
s no
t qui
te a
s ho
mog
eneo
us a
s its
fir
st p
anel
s se
emed
to
pred
ict.
Whi
le t
hey
cont
ain
mos
tly a
mat
eur
snap
shot
s to
geth
er w
ith r
epro
duct
ions
fro
m n
ewsp
aper
s an
d po
pula
r
mag
azin
es,
thes
e ca
tego
ries
wer
e ra
pidl
y ex
pand
ed t
o in
clud
e po
rtra
its,
porn
ogra
phic
imag
ery,
and
pic
ture
s of
fam
ous
hist
oric
al f
igur
es a
nd e
vent
s-H
itler
and
con
cent
ratio
n
cam
p su
rviv
ors
amon
g th
em.
In a
dditi
on,
the
artis
t's o
wn
phot
ogra
phs,
wor
king
ske
tche
s,
and
seem
ingl
y ca
sual
vie
ws
and
vist
as s
oon
infi
ltrat
ed t
he in
crea
sing
ly h
eter
ogen
ous
arra
y.
Tha
t Atl
as w
ould
ser
ve o
ther
fun
ctio
ns t
han
sim
ply
thos
e of
a r
epos
itory
for
sto
ring
mem
orab
le i
mag
es b
ecam
e ev
iden
t w
hen
sket
ches
for
ins
talla
tions
, pl
ans
for
publ
ic
com
mis
sion
s, t
echn
ical
dra
win
gs f
or d
omes
tic f
urni
shin
gs,
and
colla
ges
of h
ypot
hetic
al
setti
ngs
on a
trul
y m
onum
enta
l sc
ale
wer
e ad
ded.
3 M
ore
rece
ntly
, la
rge
sequ
ence
s of
alm
ost
seri
ally
pro
duce
d la
ndsc
apes
, tr
avel
vis
tas,
and
stil
l lif
es h
ave
been
inc
orpo
rate
d,
sugg
estin
g th
at o
nce
the
piec
e gr
ew,
the
artis
t be
gan
to o
rche
stra
te i
t in
term
s of
an
over
all
com
posi
tion,
est
ablis
hing
lar
ger
rhyt
hms,
con
junc
tions
, an
d re
fere
nces
am
ong
the
part
s,
and
inst
itutin
g a
mor
e st
rict
ly g
ridd
ed l
ayou
t. T
hat
is, w
hat
initi
ally
had
a c
ontin
gent
,
impr
ovis
atio
nal,
cum
ulat
ive
char
acte
r ha
s ta
ken
on, w
ith t
ime
and
with
rep
eate
d pu
blic
pres
enta
tion,
a c
erta
in i
nter
nal
logi
c an
d dy
nam
ic p
ecul
iar
to i
tsel
f. I
n th
is w
ay a
n al
bum
has
met
amor
phos
ed i
nto
a po
tent
ially
enc
yclo
pedi
c pr
ojec
t, no
twith
stan
ding
the
per
sona
l,
prov
isio
nal,
and
incr
emen
tal
impu
lses
con
tinui
ng t
o ge
nera
te i
t.
It is
app
osite
tha
t ph
otog
raph
y is
the
pivo
t of
this
, th
e m
ost
exte
nsiv
e w
ork
in R
icht
er's
oeuv
re.
A c
onst
ant
in h
is a
rt o
f th
e pa
st t
hree
dec
ades
, for
him
it h
as a
lway
s ha
d a
dial
ectic
al r
elat
ions
hip
with
pai
ntin
g. G
iven
tha
t que
stio
ns o
f re
pres
enta
tion
lie a
t the
hea
rt
of R
icht
er's
ent
erpr
ise,
thi
s re
latio
nshi
p ha
s in
evita
bly
prov
en a
shi
ftin
g, m
utat
ing
one
from
the
ear
ly s
ixtie
s w
hen
phot
ogra
phy
prov
ided
mot
ifs
for
pain
tings
to
the
past
dec
ade
whe
n th
e ar
tist
has
both
ove
rpai
nted
pho
togr
aphs
and
exh
ibite
d as
pri
nts
phot
ogra
phs
of
r ~
(
cert
ain
pain
tings
ori
gina
lly g
ener
ated
by
reph
otog
raph
ed p
hoto
grap
hs.
Dav
e H
icke
y ha
s
pers
uasi
vely
arg
ued
agai
nst
the
cano
nica
l hi
stor
ical
rat
iona
le f
or t
he c
hang
es t
hat
took
plac
e in
the
prac
tice
of p
aint
ing
afte
r th
e ad
vent
of
phot
ogra
phy:
nam
ely,
tha
t pa
intin
g
chan
ged
beca
use
phot
ogra
phy
appr
opri
ated
its
des
crip
tive
and
repr
esen
tatio
nal
func
tions
.
"Ric
hter
's p
hoto
-pai
ntin
gs i
nfer
," H
icke
y ar
gues
, " .
.. [th
at]
pain
ting
chan
ged
afte
r th
e
adve
nt o
f ph
otog
raph
y no
t bec
ause
pho
togr
aphy
usu
rped
its
des
crip
tive
func
tion,
but
beca
use
phot
ogra
phy
prio
riti
zed
it, th
us v
alor
izin
g th
e re
fere
nt o
ver
wha
t it
sign
ifie
d."
4
If ph
otog
raph
y pr
ovid
ed t
he p
aint
er, f
aced
with
the
que
stio
n of
wha
t to
pai
nt,
with
cer
tain
basi
cs,
abst
ract
ion
offe
red
anot
her
set o
f po
ssib
ilitie
s th
at w
ere,
for
Ric
hter
, eq
ually
but
not
nece
ssar
ily m
ore
plau
sibl
e; a
bstr
actio
n an
d fi
gura
tion,
he
belie
ves,
hav
e pa
ralle
l st
atus
as p
ictu
res.
Thr
ough
rec
ours
e to
mir
rors
, pa
nes
of g
lass
, an
d sm
all
refl
ectiv
e al
umin
um
sphe
res,
Ric
hter
the
n fu
rthe
r pe
rmut
ated
thi
s pr
eocc
upat
ion
with
rep
rese
ntat
ion
by
wed
ding
the
se w
orks
to
thei
r co
ntex
ts.
Inco
rpor
atin
g th
e su
rrou
ndin
gs-i
n ef
fect
, an
idio
sync
ratic
mod
e of
wor
king
in
situ
-all
owed
hi
m t
o ex
tend
in
mor
e en
com
pass
ing
way
s
the
dial
ectic
bet
wee
n w
hat
is s
een
and
wha
t is
rep
rese
nted
, as
wel
l as
the
med
ia o
f th
at
repr
esen
tatio
n.
Ric
hter
has
fre
quen
tly a
sser
ted
that
he
has
no p
rogr
am a
nd n
o id
eolo
gy, a
nd t
hat
he
proc
eeds
acc
ordi
ng t
o no
pre
conc
eive
d pl
an. F
or a
ll its
com
pend
ious
nat
ure,
Atl
as i
s
gove
rned
by
no o
verr
idin
g lo
gic
and
no p
olem
ic.
Unl
ike,
for
exa
mpl
e, B
ernd
and
Hill
a
Bec
hers
's
proj
ects
, A
tlas
is
not
an a
rchi
ve:
ther
e is
nei
ther
a c
oher
ent
and
syst
emat
ic
com
pila
tion
of a
n id
entif
iabl
e bo
dy o
f m
ater
ial
nor
an a
rcha
eolo
gica
l ex
haus
tion
of a
spec
ific
sub
ject
. In
ret
aini
ng a
hyb
rid
iden
tity,
Atl
as l
oose
ly a
dher
es t
o so
me
of th
e
preo
ccup
atio
ns i
nfor
min
g R
icht
er's
pai
ntin
gs w
ithou
t be
ing
excl
usiv
ely
gove
rned
by
them
.
Mos
t of
its
rec
ent
com
pone
nts
are
phot
ogra
phs
take
n by
the
art
ist
him
self
rat
her
than
imag
es c
ulle
d fr
om p
ublis
hed
sour
ces,
cor
resp
ondi
ng t
o th
e fa
ct t
hat
sinc
e 19
75 R
icht
er
has
seld
om d
epen
ded
on f
ound
mot
ifs
for
subj
ect
mat
ter.
Not
onl
y ar
e th
e in
itial
im
ages
now
his
ow
n, b
ut th
ey a
re o
ften
mad
e in
clo
sely
rel
ated
ser
ies
or s
eque
nces
. Non
ethe
less
,
thos
e th
at h
ave
been
ret
rosp
ectiv
ely
incl
uded
in
Atl
as d
o no
t ne
cess
arily
con
stitu
te a
ll th
at
the
artis
t to
ok o
f an
y pa
rtic
ular
mot
if,
nor
are
they
alw
ays
the
very
one
s th
at p
rovi
ded
the
mod
els
for
indi
vidu
al p
aint
ings
. Im
ages
onl
y ex
cept
iona
lly s
tand
alo
ne,
inde
pend
ent
and
icon
ic; o
n su
ch o
ccas
ions
the
y ar
e fr
amed
with
in p
enci
l bo
rder
s as
with
pre
sent
atio
n
draw
ings
, co
ntex
tual
ized
in
hypo
thet
ical
ins
talla
tions
, or
mas
ked
and
glue
d to
she
ets
onto
whi
ch c
olor
stu
dies
can
be
deve
lope
d in
pre
para
tion
for
pain
ting
. The
rel
atio
nal
char
acte
r
of t
he g
roup
ings
with
in m
ost
of th
e pa
nels
is
fully
in
acco
rd w
ith t
he c
ontin
genc
y
unde
rpin
ning
the
pre
sent
atio
n of
the
wor
k as
a w
hole
. Fo
r, t
he a
rran
gem
ent
of t
he p
anel
s
follo
ws
a lo
ose
rath
er t
han
stri
ct c
hron
olog
y, w
ith p
lace
men
t de
term
ined
in
part
by
the
char
acte
r of
the
venu
es-w
all
dim
ensi
ons
, hei
ghts
, an
d pr
opor
tions
-in
whi
ch A
tlas
is
to
be e
xhib
ited
. Seq
uenc
ing
and
grou
ping
is
thus
em
ploy
ed t
o es
tabl
ish
a m
ode
of r
eadi
ng
that
is
diff
eren
tial
and
cont
extu
al.
Face
d w
ith t
he m
ass
of i
mag
ery
avai
labl
e to
day,
Ric
hter
ass
erts
tha
t al
l one
can
do
is tr
y
to o
rder
it.
He
mak
es n
o at
tem
pt t
o of
fer
an o
verr
idin
g in
terp
reta
tion
, the
re i
s no
pro
mis
e
of c
ompr
ehen
sibi
lity
and
defi
nitiv
enes
s of
the
kind
vou
chsa
fed
in a
n ar
chiv
e or
by
arch
aeol
ogy.
As
Ben
jam
in B
uchl
oh a
stut
ely
note
s, th
e re
latio
nshi
ps b
etw
een
the
imag
es
"gen
erat
e m
eani
ngs
and
disi
nteg
rate
rea
ding
s."
' Hen
ce,
som
ethi
ng p
rovi
sion
al a
nd
resi
stan
t to
pre
cise
mea
ning
em
erge
s in
Atl
as,
som
ethi
ng w
hich
Buc
hloh
elo
quen
tly
char
acte
rize
s as
a c
heck
bot
h ag
ains
t th
e im
puls
e to
gen
erat
e un
ders
tand
ing
and
the
ever
pres
ent
desi
re f
or i
t. A
tlas
hov
ers,
the
refo
re, b
etw
een
the
prom
ise
of ta
xono
mic
ord
er a
s
devu
lged
in
the
arch
ive
and
the
tota
l de
vast
atio
n of
that
pro
mis
e, w
hich
is
impl
icit
, for
exam
ple,
in
the
amor
cella
ted,
ant
irel
atio
nal
pote
ntia
l of
pho
tom
onta
ge.
The
im
ages
,
frag
men
ts o
r de
tails
are
com
mon
plac
e, a
lmos
t st
ereo
typi
cal.
In th
eir
shee
r or
dina
rine
ss,
conv
entio
nalit
y, a
nd u
biqu
ity,
man
y of
thes
e ph
otog
raph
s se
em a
lmos
t in
terc
hang
eabl
e or
gene
ric,
and
hen
ce s
erve
to
unde
rpla
y th
ose
stap
les
of p
hoto
grap
hic
disc
ours
e: t
he p
hoto
as i
con
and
the
phot
o as
ind
ex. T
hey
appr
oach
the
con
ditio
n R
icht
er s
eeks
for
his
pain
tings
, w
hich
as
pict
ures
are
loc
ated
alw
ays
betw
een
the
conc
rete
and
the
abs
trac
t.
Buc
hloh
arg
ues
pers
uasi
vely
tha
t "W
e ca
n no
long
er s
peak
of
'pho
togr
aphy
' in
term
s of
a
hom
ogen
eous
for
mat
ion
of p
ract
ices
, di
scou
rses
, an
d in
stitu
tions
(no
mor
e th
an w
e co
uld
spea
k of
'pol
itics
').
Phot
ogra
phy
can
be d
iscu
ssed
as
a pr
ivat
e ph
enom
enol
ogy
and
as a
part
ial
sem
iotic
s, b
ut n
ot a
s a
cohe
rent
, co
mpr
ehen
sive
his
tory
."6
At
a m
omen
t w
hen
the
digi
tal
is r
epla
cing
the
ana
logu
e an
d th
e do
min
ant
para
digm
s of
pho
togr
aphy
are
unde
rgoi
ng a
sea
-cha
nge,
Atl
as r
etur
ns t
he q
uest
ion
of th
e re
fere
nt t
o ce
nter
stag
e.
I. "
Ger
hard
Ric
hter
/Jan
Tho
m-P
rikk
er:
Rum
inat
ions
on
the
Oct
ober
18
, 19
77 C
ycle
,"
Par
kett
19
(198
9), p
. 14
3.
2. S
mal
l se
ctio
ns o
f Atl
as h
ave
been
sho
wn
on
occa
sion
, for
exa
mpl
e, i
n th
e re
cent
ret
rosp
ec
tive,
"G
erha
rd R
icht
er,"
Kun
st-
und
Aus
tellu
ngsh
alle
der
Bun
desr
epub
lik
Deu
tsch
land
, B
onn
, 19
93.
3. I
n a
rece
nt i
nter
view
, Ric
hter
spo
ke o
f th
e
"dre
am o
f m
ine-
that
the
pic
ture
s w
ill b
ecom
e
an e
nvir
onm
ent
or b
ecom
e ar
chite
ctur
e, t
hat
wou
ld b
e ev
en m
ore
effe
ctiv
e."
Quo
ted
in
L. C
.
Dor
othe
a D
ietr
ich
, "G
erha
rd R
icht
er:
An
Inte
rvie
w,"
The
Pri
nt C
olle
ctor
's N
ewsl
ette
r 16
,
no. 4
(Se
pt./O
ct.
1985
), p
. 13
0. In
eff
ect
Atl
as
does
thi
s w
hen
fully
on
view
.
4. D
ave
Hic
key
, "R
icht
er i
n T
ahiti
," P
arke
tt 3
5
(199
3),
p. 8
6.
5. B
enja
min
H.
D. B
uchl
oh, "
Ger
hard
Ric
hter
s
Atl
as:
Das
Arc
hiv
der
Ano
mie
," G
erha
rd R
icht
er,
vol.
2 (B
onn:
Kun
st-
und
Aus
tellu
ngsh
alle
de
r
Bun
desr
epub
lik
Deu
tsch
land
, 19
93).
Tra
nsla
tion
by B
enja
min
H. D
. Buc
hloh
.
6. I
bid.