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.../miscellaneous - is a personal journal self educational in nature, containing notes and images that inspire me, or that I wish to learn more about - as such, it includes works by other people as noted with full acknowledgment and credit to authors and sources.

I also share content of my own making that I think is worth sharing with a larger audience. If there is any work by others who object to having their work posted here, I will remove the content if so requested.

Matt Niebuhr - Works ...examining the threshold at which ordinary visibility ends and perception begins... is a site featuring my work exclusively.

Intersecting Images : a "blog" with musings about art, photography and culture - begun in 2005

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February 19, 2012
in Gerhard Richter film painting
Permalink »

mattniebuhrdrawings:

Saw this yesterday, an amazing film - a glimpse into the world of Richter’s making…

matt-niebuhr:

Portlander’s take note:

Gerhard Richter - Painting

Film Showing:

Sat, Feb 18, 2012 at 3 PM (Whitsell Auditorium) - Portland Art Museum / 35th Portland International Film Festival

http://www.gerhardrichterpainting.com/

Time is short. 


Ars longa,
vita brevis,
occasio praeceps,
experimentum periculosum,
iudicium difficile.

art [technique, craft] is long,
life is short,
opportunity fleeting,
experiment dangerous,
judgment difficult.

(Source: rockandrora)


(via mattniebuhrdrawings)
14 notes

February 8, 2012
in Gerhard Richter art painting destroyed warship
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destroyed GERHARD RICHTER, KÖLN - COURTESY GERHARD- RICHTER-ARCHIV DRESDEN “There was the painting of a warship that had been hit by a torpedo. It was shown in 1964, in the first gallery show of a painter who was still unknown at the time. It looked serious and dramatic, with the calm water in the distance, the inconspicuous silhouette of the ship and, underneath it all, a gigantic explosion. But then it disappeared.” via

destroyed

GERHARD RICHTER, KÖLN - COURTESY GERHARD- RICHTER-ARCHIV DRESDEN

“There was the painting of a warship that had been hit by a torpedo. It was shown in 1964, in the first gallery show of a painter who was still unknown at the time. It looked serious and dramatic, with the calm water in the distance, the inconspicuous silhouette of the ship and, underneath it all, a gigantic explosion. But then it disappeared.” via

3 notes

December 17, 2011
in Gerhard Richter painting movie
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GERHARD RICHTER PAINTING (2011) Official Excerpt from Richard Lormand on Vimeo.

Gerhard Richter Painting (2011)

4 notes

August 9, 2011
in Gerhard Richter shadow painting oil on canvas
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Gerhard RichterShadow PictureSchattenbild196850 cm X 55 cmOil on canvasCatalogue Raisonné: 209-2

Gerhard Richter
Shadow Picture
Schattenbild
1968
50 cm X 55 cm
Oil on canvas
Catalogue Raisonné: 209-2

28 notes

June 2, 2011
in Gerhard Richter photo painting painting Duerckheim sothebys
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GERHARD RICHTER MÄDCHEN IM LIEGESTUHL (GIRL IN DECKCHAIR) signed on the reverse and titled on the stretcher oil on canvas 60 by 95cm.; 23 5⁄8 by 37 3⁄8 in. Catalogue Raisonné: 36 Additional works from the THE DUERCKHEIM COLLECTION

GERHARD RICHTER MÄDCHEN IM LIEGESTUHL (GIRL IN DECKCHAIR) signed on the reverse and titled on the stretcher oil on canvas 60 by 95cm.; 23 5⁄8 by 37 3⁄8 in. Catalogue Raisonné: 36

Additional works from the THE DUERCKHEIM COLLECTION

25 notes

April 27, 2011
in Man on the Telephone Gerhard Richter painting atlas
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Gerhard RichterMan on the PhoneTelefonierender1965 (??)70 cm X 130 cmOil on canvas Catalogue Raisonné: 62 Exhibition (1964)  - It’s odd that the date on the painting is after the exhibition…? New Realists: Konrad Lueg, Sigmar Polke, Gerd Richter Galerie Parnass, Wuppertal, GermanyNovember 20, 1964 – December 30, 1964 Sotheby’s - Sale:  The Duerckheim Collection ( article via NYT) - 29 / 30 June 2011 See also via Artdaily.org

Gerhard Richter

Man on the Phone
Telefonierender
1965 (??)
70 cm X 130 cm
Oil on canvas

Catalogue Raisonné: 62

    Exhibition (1964)  - It’s odd that the date on the painting is after the exhibition…?

    New Realists: Konrad Lueg, Sigmar Polke, Gerd Richter
    Galerie Parnass, Wuppertal, Germany
    November 20, 1964 – December 30, 1964

    Sotheby’s - Sale:  The Duerckheim Collection ( article via NYT) - 29 / 30 June 2011

    See also via Artdaily.org

    2 notes

    December 11, 2010
    in Gerhard Richter prints monoprint Elbe
    Permalink »
    #10 (Elbe series)Gerhard Ritcher1957the “Elbe” series is 31 monotypesLinocut ink on paper29.5 x 21 cm (each) The original sheets numbered 18/19 to 30/31 are printed on both sides.  “… subtle oscillation between figuration, landscape and abstraction.” More I highly recommend getting a look at the book “Elbe” which is a beautiful presentation of the prints…!

    #10 (Elbe series)
    Gerhard Ritcher
    1957
    the “Elbe” series is 31 monotypes
    Linocut ink on paper
    29.5 x 21 cm (each) 
    The original sheets numbered 18/19 to 30/31 are printed on both sides. 

    “… subtle oscillation between figuration, landscape and abstraction.”

    More

    I highly recommend getting a look at the book “Elbe” which is a beautiful presentation of the prints…!

    20 notes

    November 26, 2010
    in Gerhard Richter Grey painting art
    Permalink »
    Grau (Grey) 1974 250 cm X 200 cmOil on canvasCatalogue Raisonné: 361-3 Gerhard Richter On this black Friday, I prefer grey…  the color seems the most full of possibilities. 

    Grau (Grey)

    1974

    250 cm X 200 cm
    Oil on canvas
    Catalogue Raisonné: 361-3

    Gerhard Richter

    On this black Friday, I prefer grey…  the color seems the most full of possibilities. 

      59 notes

      October 14, 2010
      in Bach Cage Richter art composer painter John Cage Gerhard Richter
      Permalink »

      A wonderful consideration of Cage and thinking of 4’33” 

      Similarly, but from a visual point of view…. the paintings: Cage (the composer/or the place one can not escape)  and Bach (the composer/or German word for “stream”)  by Gerhard Richter.   “Similar” because of the composition question; an investigation into our projections upon seeing (or hearing) - and trying to make some sense of what it is we are actually seeing or hearing…

      Cage 2
      2006
      300 cm x 300 cm
      Oil on canvas
      Catalogue Raisonné: 897-2
      Gerhard Richter

      Bach (2)
      1992
      300 cm X 300 cm
      Oil on canvas
      Catalogue Raisonné: 786
      Gerhard Richter

      silencesounds:

      John Cage doesn’t really need any introduction. He’s widely recognised across the board as an experimental genius, and equally widely recognised for being talentless, meaningless, unmusical and completely misunderstood.

      Hearing him talk here makes it very obvious why there is such a sharp divide in opinion towards him. His whole approach to composition completely deviates the idea of composition itself. You might think to yourself: ‘well if you don’t care about organised sound, and you don’t want music to speak or to mean anything, then why the hell are you a composer organising sound giving you pieces titles and performing them, you hypocrite’. But what is so great about John Cage is that he uses the organisation of sound to force us to notice and appreciate unorganised sound in the way that he is doing here, via the use of silence and use of chance. Like it or not, this is an example of art in its purest and most powerful form, forcing us to alter our outlook; making audiences completely re-evaluate their whole approach to and understanding of what music even was.

      Cage would have been 98 today [Sep 5]. Despite his death, it is for these reasons that his life will always be celebrated. 

      (via theauditory)

      I think this is a good assessment of Cage and his role/legacy in musical history.

      (via musicophilia)

      (Source: youtube.com)


      (via catherinewillis)
      40 notes

      March 11, 2010
      in Gerhard Richter ball drawing quote believe do
      Permalink »

      One has to believe… and do.

      Kugel, 13.6.1991

      Ball, 13.6.1991

      1991
      24 cm x 33.9 cm
      China ink (pen and brush) on paper
      Drawings CR: 91/3
      Gerhard Richter

      “…  One has to believe in what one is doing, one has to commit oneself inwardly, in order to do _________. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through ___________. But if one lacks this passionate commitment, there is nothing left to do.  Then it is best to leave it alone. For basically __________ is total idiocy. ”  

      Above quote from Gerhard Richter - The Daily Practice of Painting - Notes, 1973, February (page 78) - some reading I’m picking up again as a huge fan of Richter’s work.

      I’m working at filling in the blanks with the things that seem to matter the most right now… without the benefit of knowing where it may lead.  

      February 17, 2010
      in Dan Fischer pencil drawing works on paper Depictions Gerhard Richter
      Permalink »
      Dan FischerFrank Stella, 2007graphite on paperimage: 14.125 x 10 inchespaper: 24.125 x 19.625 inches (source: Derek Eller Gallery) Dan FischerGerhard Richter, 2002graphite on paper22.25 x 15 inches (source: Derek Eller Gallery) Dan Fischer’s drawings (pencil on paper) of artist / artist acts in studio /and artworks by others…etc….  a particular selection of imagery - some of which seem very familiar.  I notice a sort of translation occurs here - the artist uses the labor of the craft - in this case the “look” of a pencil grid layout to aid the artist in converting the “scene” onto graphite on paper which to reveals overtly the artist’s hand - like a signature - like a particular color tone..  Below a review by Roberta Smith in the NYT that I missed previously…. It is interesting to think how some forms of “copying” are given a wide berth. Perhaps this is so when the medium is granted the status of an original artwork itself or that of an “original individual art object” - quite unlike say a photograph which presumably is infinitely reproducible… You make one and only one unique and individual drawing (like painting). As opposed to say “re-photography” and appropriation through photography, etc that intermittently stirs up questions of authorship and originality in some contemporary work… I have to agree that sometimes, photography is in some ways - “too easy” as Le Corbusier is accredited to have said.

      Dan Fischer
      Frank Stella, 2007
      graphite on paper
      image: 14.125 x 10 inches
      paper: 24.125 x 19.625 inches (source: Derek Eller Gallery)

      Dan Fischer - Gerhard Richter, 2002 graphite on paper 22.25 x 15 inches

      Dan Fischer
      Gerhard Richter, 2002
      graphite on paper
      22.25 x 15 inches (source: Derek Eller Gallery)

      Dan Fischer’s drawings (pencil on paper) of artist / artist acts in studio /and artworks by others…etc….  a particular selection of imagery - some of which seem very familiar.  I notice a sort of translation occurs here - the artist uses the labor of the craft - in this case the “look” of a pencil grid layout to aid the artist in converting the “scene” onto graphite on paper which to reveals overtly the artist’s hand - like a signature - like a particular color tone..  Below a review by Roberta Smith in the NYT that I missed previously….

      It is interesting to think how some forms of “copying” are given a wide berth.

      Perhaps this is so when the medium is granted the status of an original artwork itself or that of an “original individual art object” - quite unlike say a photograph which presumably is infinitely reproducible… You make one and only one unique and individual drawing (like painting). As opposed to say “re-photography” and appropriation through photography, etc that intermittently stirs up questions of authorship and originality in some contemporary work… I have to agree that sometimes, photography is in some ways - “too easy” as Le Corbusier is accredited to have said.

      9 notes