Displaying items by tag: Gerhard Richter

On December 13 the Art Institute of Chicago unveils 44 contemporary works donated by collecting titans Gael Neeson and Stefan Edlis. The largest gift in the museum’s 136-year history, the mix reads like an art lover’s “Twelve Days of Christmas,” with one Robert Rauschenberg, two Cy Twomblys, four Gerhard Richters, six Cindy Shermans, and nine Andy Warhols among the blue-chip pieces.

In celebration of the fiftieth anniversary of the Color Charts inception, an exhibition of  Gerhard Richter's iconic paintings, selected from the artist’s original nineteen, 'Color Charts,' produced in 1966 is to be mounted at Dominique Lévy in London. Presented with the support of the Gerhard Richter Archive, the exhibition is the first exhibition to feature a small but vital group of works from this series since their inaugural appearance at Galerie Friedrich & Dahlem, Munich in 1966. The exhibition also includes a group of Color Charts painted in 1971, when Richter reexamined and expanded the series after a five-year hiatus.

Gerhard Richter's catalogue raisonné continues to take shape as the artist's output from 1976 to 1994 has now been fully documented.

But what about the artist's early works? The painter has developed a reputation for rigorously editing his oeuvre, routinely striking works from catalogues, Tagesspiegel reports. He's also threatened to pull loaned works from museum collections.

Germany's most important contemporary artist, Gerhard Richter, is the latest art star to criticize the German government's planned tightening of their cultural protection legislation.

Last Sunday, Georg Baselitz took radical action and withdrew all of his works on long-term or permanent loan from German museums to protest government plans, which would restrict artworks classified as “nationally significant cultural heritage" from being exported.

A Gerhard Richter abstract painting sold Tuesday night at Sotheby’s contemporary art auction in London for £30.4 million, or about $46.3 million, including fees.

The monumental, 10-foot high canvas, “Abstraktes Bild,” numbered 599 and painted with veils of red, blue and green pigment, was bought by a telephone bidder, represented by Cheyenne Westphal, Sotheby’s worldwide co-head of contemporary art, after lengthy competition from another telephone bidder.

German painters Gerhard Richter and Georg Baselitz sold works for more than $2 million each, and American artist Mike Kelley’s mixed media that used buttons, beads and shells fetched more than $1 million, as the Foire Internationale d’Art Contemporain ended on Sunday in Paris.

Organizers said 74,567 people attended the main fair at the Grand Palais and more than 14,000 visitors went to (Off)icialle, a new sister event with 68 galleries that focused on younger or overlooked artists on a dock along the Seine in east Paris.

The Linda Pace Foundation, which is dedicated to the charitable vision of its founder, the late Linda Pace, will sell Gerhard Richter's 1992 painting "Abstraktes Bild (774-4)" on November 12 in New York. The painting, which has been consigned to Christie’s, is expected to fetch between $14 million and $18 million. Proceeds from the sale will help fund an exhibition space to showcase the Linda Pace Foundation’s growing permanent collection to the public. The British architect David Adjaye has been selected to design the building in San Antonio, Texas, where the foundation is based. Additional funds for the space will come from the foundation.

"Abstraktes Bild (774-4)" is a seminal example of Richter’s multi-layered abstract style, which he began exploring in the late 1980s.

Christie’s sold 46.9 million pounds ($75.3 million) of postwar and contemporary art at the start of Frieze week in London, as a Gerhard Richter estimated at as much as 10 million pounds failed to find a buyer at the auction.

Richter’s “Netz,” a red, yellow and green abstract painting, was sold after the auction to a private U.S. collector for 5.5 million pounds, Francis Outred, head of postwar and contemporary art, Europe, said at a news conference after last night’s sale.

The 44 works, from the Essl Collection of contemporary art in Austria, produced a total that fell within the auction house’s presale estimated range of 40 million to 56.8 million pounds.

The Gerhard Richter show inaugurating Marian Goodman’s heavily anticipated London gallery is nothing short of superb. Curated by the artist, it showcases Richter’s recent experiments with abstraction, while subtly inscribing these within the history of his practice. The exhibition is not—as some might have feared—the “greatest hits” of an auction favorite. It represents a thoughtful presentation of an artistic mind at work. And it shows that mind as alert to the yet-untapped potential of the pictorial medium as when Richter first rose to fame a half-century ago.

Spread over two floors of the Victorian-era warehouse—tastefully refurbished by David Adjaye Associates—the exhibition features three bodies of work: “Strip,” “Flow,” and a series of painted photographs, which Richter initiated in 1986.

It has been over a hundred years since abstraction was adopted in Western painting, and we’re still trying to make sense of it. Despite the rather clunky subtitle and the fact that the exhibition is drawn from a single collection, “Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell” offers an excellent, compact survey of some of the key arguments.

One thing highlighted at the beginning of the show, which includes works by 23 painters, is that, along with the rise of abstract art, our concept of traditional art history — how one movement or artist invariably influences the next generation — has changed.