Gerhard Richter: Quotes about art

in text for catalogue of documenta 7, Kassel, 1982; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1
1980's

Hope , Art

“This one is too elegant, too shiny, like jewelry. It seeks applause. This is clear to me, but difficult to explain, which is what makes abstraction so fascinating. In one sense, abstract art is absolutely nothing, stupid. In 100 years, maybe people will just think it's garbage. But somehow we see something in it; we have a sense of quality. [searching for an illustration of his point, Richter leafs through a catalog to find some of his 'gray monochromes']. I was doing these [monochromes] when I was getting divorced. When you feel totally empty, you do this - but then I saw that one picture was actually better than another. Both were miserable, but the difference was interesting. I loved this: that there must be something, some higher faculty, some progressive sensibility that we find in abstraction. But it is impossible to describe.”

Gerhard Richter

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

Love , People , Stupidity , Art

“The sciences certainly have influenced the arts. To an Aztec, the sunset was an inexplicable event, which he could not cope with or even survive without the imagined aid of his gods. Obvious phenomena of this sort have since been explained. But the sheer unimagined vastness of the explicable has now made the inexplicable into such a monstrous thing that our heads spin, and the old images burst like bubbles. The thought of the totally inexplicable (as when we look at the starry sky), and the impossibility of reading any sense into this monstrous vastness, so affect us that we need ignorance to survive.”

Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

God , Art , Imagination , Sense

“This time the entire floor is covered with cut-up illustrated journals, a new tic and trick of mine (eight days now): I cut out photos from illustrated journals and dissolve them with a chemical solution and swipe and smear them. That is fabulous fun. I have always loved illustrated magazines, perhaps because of their documentary actuality. I have also already made a few attempts to paint something like that in a larger format. Curious to see how it will continue. I am pursuing something which in a certain way resembles the most recent movement: Pop art (from popular), probably came up in America and is now heating up the minds here.”

Gerhard Richter

In Richter's letters from Düsseldorf, 10 March 1963 - to two artist friends, Helmut and Erika Heinze
1960's

Love , Art , Way , Photo

“Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.”

Gerhard Richter

Notes, 1962; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1
1960's

Truth , Art , Parting

“In the beginning I tried to accommodate everything there that was somewhere between art and garbage and that somehow seemed important to me and a pity to throw away. After a while, some sheets in the Atlas acquired another value, after all – that is, it seemed to me that they could stand on their own terms, not only under the protection of the Atlas.”

Gerhard Richter

Quote of an interview with Dieter Schwarz, 1999; as cited on collected quotes on the website of Gerhard Richter: 'on Atlas' https://www.gerhard-richter.com/en/quotes/atlas-4
1990's

Art

“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

Source: after 2000, Doubt and belief in painting' (2003), pp. 45-46, note 43

Children , Stupidity , Art , Understanding

“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

Source: after 2000, Doubt and belief in painting' (2003), p. 41, note 30

World , Art , Reality , Change

“Art serves to establish community. It links us with others and with the things around us, in a shared vision and effort.”

Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

Art , Communication , Effort

“[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

Quote from the interview with Rolf-Gunter Dienst, 1970; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1
1970's

People , World , Art , Way

“Do you know what was great? Finding out that a stupid, ridiculous thing like copying a postcard could lead to a picture. And then the freedom to paint whatever you felt like. Stags, aircraft, kings, secretaries. Not having to invent anything anymore, forgetting everything you meant by painting – color, composition, space – and all of the things you previously knew and thought. Suddenly none of this was a prior necessity for art.”

Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), pp. 60-61, note 94

Stupidity , Art , Color , Freedom

“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

Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 34

Art , History , Success , Painting

“It is instinctive to search for something. Abstract art is inherently about the search - and about not finding anything. My gray monochromes have the same illusionistic implications as my landscapes. I want them to be seen as narratives - even if they are narratives of nothingness. Nothing is something. You might say they are like photographs of nothing.”

Gerhard Richter

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)