Russell Webner

All original images © Russell Webner 2010 all rights RESERVED

Gerhard Richter


It’s been a long time since I’ve made a new post, however for a painter like Gerhard Richter, it’s worth it to come out of my summer hibernation — or to head to the pool an hour later after typing this.
In an age where realism is confined mostly to art classes and kept definitively out of contemporary ‘fine’ art, Gerhard Richter seizes on the quality/quantity push-pull of photographs by copying them through painting. Why? Because photographs are unique to our modern age, where technology enables us to instantly create perfect visual recreations of our loved ones, beautiful landscapes, gawked-at strangers, or anything else. I would guess that Gerhard Richter would say this process is too easy. Through his paintings of photographs, Richter attempts to seize the distinctly modern (and I would say negative) manner of the photograph as an object to be cherished and disseminated, rather than a mere image: as opposed to mediums that are more personal and subjectively accurate.  I think much of the charm of Richter’s work is that no matter the individuals in his paintings of photographs, you have seen one that looks just like it (just paste on faces of your grandparents, aunt or brother).
The visual phenomenon of the new millenium are Richter’s preferred subject matter. Whether probing the psychological implications of photographs or the development of visual and technological techniques — see pictured image — , Gerhard Richter takes a very important place in the modern art world because instead of dealing with nebulous subjects of ethereal or conceptual nature, his works confront the advancements of our new age and their effect on everyone of us.


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