Gerhard Richter: Overpainted Photographs (First English Edition)
Publisher: Ostfildern, Germany: Hatje Cantz Verlag, in conjunction with Museum Morsbroich, Leverkusen, Germany and Centre de la photographie, Geneva, 2008
Edition: 1st Edition
Binding: Hardcover
ISBN: 9783775722438
Condition: As New / No dust jacket as issued
Item #: 106584
$450.00
Specifics
First edition, first printing. Hardcover. Burlap cloth-covered boards, with four-color plate tipped in the front cover and titles stamped in black on cover and spine; no dust jacket as issued. Overpainted photographs by Gerhard Richter. Edited by Markus Heinzelmann. Essays by Markus Heinzelmann, Uwe M. Schneede, Botho Strauss and Siri Hustvedt. Includes a checklist of reproduced works. 392 pp., with numerous four-color plates, beautifully printed on heavy fine art paper (LuxoArt Sil, 170 g/m and LuxoCream, 100 g/m) by Dr. Cantz'sche Druckerei, Ostfildern-Ruit. 10-1/2 x 9 inches.
Published on the occasion of the 2008-09 exhibitions at the Museum Morsbroich, Leverkusen, Germany and Centre de la photographie, Geneva.
Condition
As New. A Mint copy.
Description
From the publisher: "Gerhard Richter is justly famed for the photorealism of his early canvases, but it is less well known that he has also painted directly onto photographic prints. These (mostly small-format) pieces were reproduced in books as early as the first Atlas, but practically all of the works themselves are housed in private collections and rarely exhibited in public. Overpainted Photographs 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. In an overture to Duchamp's "degree zero" found objects, the original photographs are frequently bland in content--an empty office, a ball, a beach scene or tourist snapshot--and Richter's painterly gestures bounce off that content in peculiar ways, sometimes interacting with it, sometimes overlaying it and sometimes threatening to eclipse it altogether. The final effect is to cause both photography and painting to seem like incredibly bizarre activities, disparate in texture but often complicit in aspiration. This monograph offers a unique opportunity to savor what had previously been a neglected but copious aspect of Richter's work."
