Gerhard Richter at David Nolan - art exhibition; New York, New York

This small on the contrary comprehensive exhibition consisted of works upon paper in various mediums from the last five years and sum of two units small paintings from the early '80 Entering the gallery, single first saw Richter's overpainted color photographs. Untitled (7489) is a nondescript photo of the San Francisco Bay. in the firmament area Richter has painted in a not many tubular shapes that appear to float upon the photograph's surface, face, as if to emphasize the visual disparity between the naturalistic camera image and the invented forms. In a vitrine were three overpainted color photographs from an edition titled Kassel (Documenta IX) 1992 Each photograph is identical, showing an early morning cityscape, on the contrary Richter has painted each single differently, creating dark cloudlike or birdlike forms that have the appearance to hover over the city.

The overall humor is ominous and surrealistic.

A cluster of six blurry black-and-white photographs which Richter took of himself in his eau-de-cologne studio, 2.5.89-7.5.89 Sechs Fotos, was also displayed in a vitrine; these works preced the well-known 1989 paintings of the Baader-Meinhof collection which utilize the same kind of blurr photographic result It is at first hard to recognize the artist and to compute exactly what he is doing in the dark gray space depicted in these pictures. In individual triple-exposed photo, he appears to be getting up or sitting down in three different locations.

Abstract Painting 1980 was single of the two small oil paintings upon view. Over a thinly painted, atmospheric field of fulvous red and green, the artist used jerky expressionistic brushstrokes to form a drab, olive-colored shape that appears to float upon top of the background colors. This kind of spatial separation can be fix in Richter's paintings and his painted photos; interestingly, although his graphite drawings and watercolors remain spatially cohesive. The watercolors, for the most part abstracted landscapes, were the greatest in quantity engaging works in the exhibition. Spatially thick they employ washes and brushstrokes in primary and secondary colors that completely overspread the paper. Richter often takes advantage of the medium's fluid quality through allowing the watercolor to stream freely and create ate its possess shape. Ocassionally he also uses oil paint, which affects the watercolor's flow

The drawing Untitled (201291) contains a smudgy central area in gray graphite that recalls the fabric of a gravestone rubbing. above this surface the artist rapidly drew thin, dark pencil lines in various longitudinal dimensionss and directions; one line sweeps obliquely across three quarters of the composition. The proceed suggests a kind of primitive, abstract wall drawing. Altogether this concise exhibition helped to clarify the range and the nuances of Richter's creative processes

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