Gerhard Richter quotes - page 4
Every word, every line, every thought is prompted by the age we live in, with all its circumstances, its ties, its efforts, its past and present. It is impossible to act or think independently and arbitrarily. This is comforting in a way. To the individual, the collective experience of the age represents a bond – and also, in a sense, security; there will always be possibilities even in disaster.
Gerhard Richter
In the early 1960s, having just come over from the GDR, I naturally declined to summon up any sympathy for the aims and methods of the Red Army Faction [RAF]. I was impressed by the terrorists' energy, their uncompromising determination and their absolute bravery; but I could not find it in my heart to condemn the State for its harsh response. That is what States are like; and I had known other, more ruthless ones. The deaths of the terrorists, and the related events both before and after, stand for a horror that distressed me and has haunted me as unfinished business ever since, despite all my efforts to suppress it.
Gerhard Richter
My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.
Gerhard Richter
Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God. We are well aware that making sense and picturing are artificial, like illusion; but we can never give them up. For belief (thinking out and interpreting the present and the future) is our most important characteristic.
Gerhard Richter
The ones that weren't paintable were the ones I did paint. The dead. To start with, I wanted more to paint the whole business, the world as it then was, the living reality – I was thinking in terms of something big and comprehensive. But then it all evolved quite differently, in the direction of death. And that's really not all that unpaintable. Far from it, in fact. Death and suffering have always been an artistic theme. Basically, it's the theme. We've eventually managed to wean ourselves away from it, with our nice, tidy lifestyle... They [ Red Army Faction-members were not the victims of any specific ideology of the left or of the right, but of the ideological posture as such. This has to do with the everlasting human dilemma in general: to work for a revolution and fail..
Gerhard Richter
Pop art is neither an American invention nor an import, yet the terms and names were coined in the US, where they were popularised much faster than in Germany. This kind of art has evolved organically and independently over here, yet at the same time it becomes an analogy to American pop art due to certain psychological, cultural and economical preconditions that are the same in Germany as they are in the US.. ..For the first time we are showing paintings in Germany that relate to those terms, representing pop art, junk culture, imperial or capitalistic realism, new figuration, naturalism, German pop and other comparable terms.
Gerhard Richter
[question: How do you interpret your role as a painter in our society?] As a role that everyone has. I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.
Gerhard Richter
In [19]'46, I had started to awaken to the world. At first, the Russians nationalized everything [in East-Germany / DDR]. Rich people had their property taken away, and the people got access to their libraries, which was wonderful for me. I read Hermann Hesse. Thomas Mann was a little too heavy for me. But Lombroso, Nietzsche. Materialists, I would call them – writers who said there was no god, no spirit, that freedom is an illusion. That affected me deeply.
Gerhard Richter
I was called a formalist, and in East Germany that meant you could be denied a chance to exhibit. So I knew I had to leave [to West-Germany], not because I was worried about the controversy but because I knew the controversy was about a bad picture. It wasn't good enough to be controversial. I was getting all the wrong reactions. Friends said the work was wonderful, and the attacks made it seem more important than it was. I had started to earn money with the murals. I earned enough to get a car. That was a big deal. So it was not easy to give up. But I knew I had to leave.
Gerhard Richter
I suppose they also had to do with my father, the Nazis, being skeptical of all systems, all manias. In the 70's, political positions were so clearly split in Germany - the country was so divided over the Baader-Meinhof group - and I was annoyed by both sides. In terms of what I expressed in the paintings, that seemed my only choice, not because I wanted to be ambiguous but because I myself don't know how to answer these difficult questions. That was what I was conveying.
Gerhard Richter
Dada is a farce, a legend, a state of myth. A badly behaved myth whose subterranean survival and capricious manifestation upset everyone.. .The aesthetic of absolute negativity has been changed into methodical doubt, thanks to which it will finally be able to incarnate new signs.. .After the NO and the ZERO, there is a third position for the myth; the anti-art gesture of Marcel Duchamp has been charged with positive energy. The Dada spirit identifies itself with a method of appropriation of exterior reality of the modern world.. .The ready-made is no longer the height of negativity or of polemic, but the basis element of a new expressive repertoire. Such is the New Realism: a direct means for getting one's feet back on the ground but at 40 degree above Dada zero.
Gerhard Richter
I painted [circa 1960-62] through the whole history of art toward abstraction. I painted like crazy [and] I had some success with all that, or gained some respect. But than I felt it wasn't it, and so I burned the crap in some sort of action in the courtyard. And then I began. It was wonderful to make something and then destroy it. It was doing something and I felt very free.
Gerhard Richter
He [Richter's art-mate, the German painter Sigmar Polke ] was very different, he was not cool.. .He had irony. He was very funny. The things we did together [around 1963 – 1970] were a kind of craziness.. .We thought everything was so stupid and we refused to participate. That was the basis of our understanding.. ..he was able to paint those little dots in his raster paintings by hand with such a patience while he was living with his two children and his wife in a small subsidized apartment.
Gerhard Richter
His Blinky Palermo constructive pictures have remained in my memory because they particularly appeal to me, because I can't produce such a thing. I always found it very good how he made it and that he made it – this astonished me. There was an aesthetic quality which I loved and which I couldn't produce, but I was happy that such a thing existed in the world. In comparison, my own things seemed to me somewhat destructive, without this beautiful clarity.
Gerhard Richter
Their permanent presence [of the old traditional paintings out of the past] compels us to produce something different, which is neither better nor worse, but which has to be different because we painted the Isenheim Alter [of Grünewald, 14th century] yesterday.. ..the better we know tradition – i.e., ourselves and the more responsibly we deal with it, the better things we will make similar, and the better things we will make different.
Gerhard Richter
