To most people in the art world, the name Gerhard Richter is synonymous with blurry photo-realist paintings with echoes of post-war East Germany. Yet, as Panorama, the retrospective exhibition at the Tate Modern demonstrates there is a lot more to Richter than a bit of blur.
Unexpectedly, the gallery known for its resistance to the more traditional curating strategies adopted a chronological hang to structure the body of more than 50 years of painting, photography and sculpture. Starting with the photorealism of the 1960s, the exhibition slowly ushers the visitor into Richter’s thought process. He reveals himself to be a contrary character who has adopted this particular aesthetic that will become his signature as a means to distinguish himself from all the painters in thrall with abstract expressionism at the time. Continue reading It’s all a blur
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