Following one further final halving and mirroring, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of colour, the largest of which stretches over ten metres, as seen on the gallery’s first floor.By tellingly entitling these unique works ‘Strip’ paintings, Richter is referring not to those lines, but both to the miniscule vertical strips they represent of their source and to the sense of physically ‘stripping’ – taking apart and dismantling his original painting.Of not only reinventing, but wholly paring down and fundamentally abstracting his own abstraction.
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This Adjaye-designed gallery isn’t quite Cologne Cathedral, but is closer than most...
Over the past five years Richter has been primarily concerned with a series of paintings premised on systematically deconstructing a photograph of his own abstract oil on canvas from 1990.
Revisiting an idea he first employed in his late-seventies project ‘128 Photographs of a Painting’, he divided the work’s surface into two vertical sections, then halved those halves, and so on, subjecting them repeatedly to a premeditated procedure he described simply as ‘dividing, mirroring, repeating’.
At the point when this digital process had generated 4,096 infinitesimal vertical sections, Richter intervened with a rigorous selection process, re-imposing his subjective will and choosing particular preferred strips with which to continue working.
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London UK - So many new international galleries seem to be opening in Mayfair that one might get blasé…
but Marian Goodman’s is heroically scaled, and kicks off with a refreshing account of Richter’s recent work: not the auction-friendly strands of scraped abstracts or blurred photo-realism, but...
a seven-pane glass sculpture; eight of the rigorously self-deconstructing photo-derived ‘Strip’ versions of his own painting, the biggest ten metres wide; nine explorations of the grey monochrome, with oil on board, oil on glass and enamel behind glass showing their different effects; eleven ‘Flow' paintings – multi-coloured pools of paint, its movement stilled by being trapped beneath glass; a particularly good set of 17 small oil on photograph works; and four colour-square works, cheekily installed to hint at the even grander space in which Richter has employed the motif in stained glass.
Simon Lee has a good range (in colour, size, emotional content, and mood) of Mel Bochner's long running series of Thesaurus paintings.