Art, Review

Gerhard Richter: A (Short) Review

In between cooking up a storm and wearing things ‘that are perfect for a lazy day when you just want a little sparkle’ and having like, the most adorable life EVER last weekend (not that I do or don’t: I’m just satirising the fairly common blogging practice of offering up impossibly glamorous précis of weekends: Honeys, I know what Saturday feels like, and it’s not a cocktail dress for breakfast) I actually managed – through an uncommon feat of organisation – to get myself to both Tate galleries last Sunday.

John Martin: Apocalypse is on at the Brit, Tacita Dean has taken over the Turbine Hall, and Gerhard Richter: Panorama is the new blockbuster show at the Mod (because we’re shortening Tate gallery names today) and they’re all fresh and exciting additions to meaty list of exhibitions on in London this Autumn. In particular, the critically acclaimed Richter-retrospective Panorama,is already shaping up to be a serious contender for best-in-show.

It’s easy to see why. Here is an exhibition, which, like Miró before it, is so jam-packed with instantly recognisable masterpieces (Sonic Youth’s Daydream Nation anybody?), that you can’t fail to be impressed with what the Tate’s drafted in – or at least intrigued at what might be hanging in the next room. The Tate’s fierce dedication to organising their bigger exhibitions in chronological order is coming up trumps: it might be formulaic but the progression is so well-expanded, so cleverly-curated and Richter’s background in photo-realism and pop art so obviously the underpinning force that works like 4 Panes of Glass become appreciated in their own right – additive to the body of work, rather than confusing tangents. There’s time and room to hear the drones of engines in Bombers, marvel at the sheer dedication of 4096 Colours, smell the wet air of Funeral and quietly reflect on that pivotal day 10 years ago when the Twin Towers came crashing down in September. From start to finish (confusingly in a room across the Expresso Bar – you’ll see what I mean when you go), it is truly excellent.

Below are a selection of some of my favourite pieces from the exhibition. To find your own, book tickets here.

{Mustang Squadron, 1964}

{Ema (Nude on a Staircase), 1966}

{Seascape, 1970}

{Himalaya, 1968}

{4096 Colours, 1974}

{Skull, 1983}

{Funeral, 1988}

{September, 2005}

Images sourced from: Art Tattler, and The Guardian


2 thoughts on “Gerhard Richter: A (Short) Review

  1. Pingback: Outdoor Art « red nails and teacups

  2. Pingback: Pablo Honey « Red Nails and Teacups

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