Gerhard Richter and the Technological Condition of Painting
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Aline Guillermet uncovers Gerhard Richters appropriation of science and technology from 1960 to the present and shows how this has shaped the artists well-documented engagement with the canon of Western painting.
Through a study of Richters portraits, history paintings, landscapes and ornamental abstractions, Guillermet reveals the artists role in affirming the technological condition of painting in the second half of the twentieth century: a historical situation in which the medium and its conventions have become shaped, and to some extent transformed, by technological innovations.
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