Arbitrary Beginnings, Well Known Ends

Further on in the Richter film, starting at 54 minutes, there’s a conversation between the artist and Benjamin Buchloh. They hit on all the points I make in the book, and the conclusion is as I described it. Richter knows he’s finished a work when he feels it’s “right,” and what feels right has been pre-determined long ago. This is what I cannot abide, and why I find Richter’s work so disappointing. And moral alibis for the destruction of all those possibilities by the squeegee is just mannerism; call it critical mannerism or empty talk that always takes a negative position in order to affirm the status quo.

The finishing wipe, from Gerhard Richter, Painting, a 2011 film by Corinna Belz

The finishing wipe, from Gerhard Richter, Painting, a 2011 film by Corinna Belz

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