The Daily Practice of Painting: Writings 1960-1993

by Gerhard Richter and OBRIST HANS ULRICH

A collection of the German pop painter's notes, correspondence, journal entries, interviews, and public statements on exhibitions, much of it translated into English for the first time, chronicling... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 026268084X
• ISBN13: 9780262680844
• Release Date: December 1995
• Publisher: MIT Press (MA)
• Length: 288 Pages
• Weight: 1.70 lbs.
• Dimensions: 0.9" x 6.3" x 9.3"

Customer Reviews

Fantastic.

An amazing collection of writings by one of the worlds greatest living arts. A wonderful exploration of what it means to paint in a time when painting has been declared dead on several occasions. There is a fascinating mixture of crisis/struggle/doubt and hope/belief/idealism that the artist is constantly battling between which makes this book invaluable for any young artist who is trying to digest their own practice. Get this book while you can because it's getting more and more difficult to find these days.

artistic insights

i got this book during his retrospective a couple of years ago, and i still go back to refer to its brilliant insights. i appreciate how richter, in his journal writings, or interviews found in this book offers ideas as to the how, why, and what of his art. it really helps make sense of his art, and thus further assists in ones appreciation of his art (and art and contemporary art in general). among several great ideas and quotes ('ever since i have been able to think, i have known that every rule and every opinion- insofar as either is ideologically motivated- is false, a hinderance, a menace, or a crime.'), there are great black and white photos of the artist, and his studio. speaking as an avid fan of richter's i cannot say how much this would appeal to a nonfan, but i assume that it would still be great to such a person who does care about art and artists in today's world ('It would be interesting to find out the total sum expended for these [art and cultural] purposes over the past ten years. Whatever it might turn out to be, it would strikingly confirm our natural lack of compassion for the poor.')

A must have.

buy this book. I think Richter is a great painter. He is also very articulate and can expree his views in writing which not every painter can do well. His opinions are interesting and insightful. It is better to buy books that deal directly with a painter's thoughts and emotions as opposed to some critic's. You won't be disappointed.

Class Act

Ironically, this book - that decries idealogies - could be a Bible, speaking almost always on deeply conceptual issues not only of artmaking but of living. Fortunately, for those with a pulse, there is sufficient comic relief in the form of absurdities, parodies and self-aggrandizement.It is tempting to skip the early writing and go straight to the wisdom through maturity (the notes are chronologically arranged.) That would be unfortunate for there are tremendous nuggets scattered among the contradictions in the earlier pages. If you're familiar with his work, much will be self-evident; but I found surprisingly astute reflections from the "young" Richter (ie:'66): "I like continual uncertainty". On the issue of changing style/form every 3-4 years, Richter claims that "historically speaking, changeable artists are a growing phenomenon". Even back in '77, he says "Painting has a brilliant future. Hasn't it?" Strong words, and brave for the time. If only the irascible Kuspit had read this before he slammed Richter (as "profoundly nihilistic") and believed such statements as "I want pictorial content without sentiment, but I want it as human as possible" or "the pleasure of painting proves the necessity of it".I hope future editions of this include the charming interview with Robert Storr in Art In America Jan. 2002 - which clued me into the fact that Richter had a set of writings out. There are a few photos that show the various painting forms he's explored so if you don't know his work, you can get some idea what all the discussion's about.

Compelling

A wildly compelling book that should appeal to artists, philosophers and other thoughtful people. It contains journal entries, interviews, and musings of Richer's everyday struggles to discover what it means to be an artist. I tried to start at the beginning, but found it much more interesting to open the book to a random passage and each time discovered thought-provoking ideas. At first glance, his ideas and declarations often seem quite ludicrous, but if you take one moment to consider his thoughts, his genius is revealed. His prose (sometimes scathing) is extremeley amusing when read aloud as it was by a group of artists working on a large project. We took turns reading a passage and then found ourselves discussing (and quoting) it for days. His writings include the impact of his early life on his artwork, critiques of other artist's work (Anslem Keiffer does not fare well here!), keen observations and interpretations from studying art and the human condition in modern society as well as ideas, form, materials, and content in art. I found that it opened up a new way of thinking about my own work and why I am driven to create. I highly recommend it.