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Free Content The Reception of History and the History of Reception. On the Contemporaneity of Gerhard Richter

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The essay examines the reception of Gerhard Richter in a range of historical writing and exhibitions both in and outside Germany. Drawing on critical theories of reception, it is argued that the history of Richter’s oeuvre is created as much by the artist himself—who actively controls the construct of his oeuvre—as by curators, critics, scholars, and biographers. The heterogeneity of Richter’s work provided a basis for scholars to integrate Richter into the historical models of the neo-avant-garde and postmodernity. A return to narrative, iconography and, ultimately, biography in Richter’s reception came with an increased art historical interest in German postwar art in relation to historical trauma. With the biographical turn, certain works by Richter became the subjects of almost contradictory narratives and stories and ultimately, deceptive witnesses of an exemplary German history.
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  • The first journal publishing original English-language translations of seminal works presently only available in their source language. Essential reading for everyone in the international academic community concerned with visual arts, architecture and design.

    Global in scope and extensively illustrated, this unique and innovative new e-journal demonstrates the vitality of art historical and visual culture scholarship undertaken outside English-speaking territories and cultures. Offering high quality English language translations of seminal works presently available only in their source language, Art in Translation offers a fresh perspective on global art practices, history and theory. It covers all areas of the visual arts including painting, drawing, sculpture, architecture, design, and electronic media.

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