paris

Gerhard Richter

Musée d'Art moderne de la Ville de Paris

If, as Barnett Newman asserted, the history of Modern painting is that of “the struggle against the catalogue” then lately the catalogue seems to be winning. At first glance, this victory is confirmed by the publication that accompanies this exhibition: three large volumes, collected in a single casing, with a photograph on the cover showing Gerhard Richter in his studio, posing in profile near one of his recent works. It is a calm and clear image, full of level-headed authority. Here, the painter is not at work, but at rest, as if meditative; the painting is finished. The three books inside echo this somewhat solemn order of things: the first reproduces the works shown, in chronological order; the second is a gathering of both previously published and unpublished texts dedicated to the artist’s work by Benjamin Buchloh; the third consists of a new catalogue raisonné that covers Richter’s

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