As though they were photographs of scenarios and regions that had never yet been seen» — Gerhard Richter With its grid of dark, marbled bands, Gerhard Richter's Abstraktes Bild is a shimmering greyscale vision dating from the finest period of
his abstract painterly practice.
Not exact matches
In 2005, disenchanted with the increasingly
abstract appearance of his works, he revived the vivid book cover as part of his new
painterly explorations, hoping to reintroduce a sense of pictorial content to his
practice.
The chronologically curated paintings essentially depict two modes of
practice: paintings based on photographs, and
painterly abstracts; representation versus non-representation.
If the
painterly side of this work looks back to de Kooning's
practice of hanging
abstract compositions on letter shapes, and the linguistic aspect engages conceptual art, it's the apparent nonchalance of the paintings, their complete lack of pretense or fussiness, that marks them as belonging to NOW.
Similarly, while Amy Sillman is known for her
abstract paintings, her iPhone and iPad animations fuse
abstract language with narrative and figuration; all within a
practice that unmoors the
painterly from its traditional auratic bases.