Part 1 – Gerhard Richter
Marian Goodman Gallery Ξ Very few contemporary artist have ever reached Gerhard Richter’s success, recognition and public acceptance. This master of abstraction continues to reach new heights and as Rose Lord, Director of the Marian Goodman Gallery in New York and Paris tells us, this new series of hand-painted photographs is a constant companion to his instantly recognizable large scale works.
The works featured in this video can be viewed as a departure from his monumental-scale canvases where layers of oil paint are applied and then “smeared” across the surface in various directions with a varying degree of pressure applied to the paint. Instead, these are photographs, taken during Richter’s recent exhibition at the Tate Modern in London, that are then hand-painted with his signature pigment-spreading techniques. As Ms. Lord explained, these works should be looked at as a form of an artist’s diary that accompany the canvas paintings.
Marian Goodman began her professional relationship with Richter close to three decades earlier and recently opened her latest exhibition of Richter’s “Strip Paintings” in the gallery’s Manhattan location. Gerhard Richter was also the subject of a critically acclaimed documentary by Corinna Belz titled “Gerhard Richter – Painting”.
Interview ©galleryIntell, 2012. Artwork ©Gerhard Richter. Images courtesy of Marian Goodman Gallery
Watch part 2 of our interview with Rose Lord. For more interviews from Art Basel Miami Beach and Art Miami 2012 visit here.
My name is Rose Lord, I’m a Director at Marian Goodman Gallery in New York and Paris. Marian has been working with Gerhard [Richter] for 25, possibly 30 years – it’s one of the foundations of her gallery and it’s a very important relationship on both sides.
I’m standing in front of the Gerhard Richter over-painted photographs, which have been a constant companion to his work for probably twenty to thirty years – they are almost like a diary of his work. These ones are called “Museum Visit”. Most of them were taken at the Tate Modern when he recently had a show at the museum and they are over-painted by hand, by Richter, with paint obscuring the images. These are very small, compared to [his] “normal” paintings you see, which makes them kind of intimate in a way and also makes them a diary in a way, as they are always dated, so [essentially] you are getting a small piece of his world, over-painted and obscured by [Richter].