In the 1980s Richter began squeezing pigment abstractly across canvases he had already painted in his photorealist manner, thereby suggesting that representation and abstraction are merely interchangeable codes. More recently Richter has made a number of small works that state this proposition with remarkable clarity: he squeezed paint directly onto original photographs--his own color snapshots of his art, his travels, and, in this case, his wife. These modest pictures neatly sum up the artist's problem: how to borrow photography's poignant time-bound veracity without deserting the high calling of the painter.
Lance Fung Fine Art
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 12," March 11, 1996–June 3, 1996.
The Metropolitan Museum of Art. "Photographs: A Decade of Collecting," June 5, 2001–September 4, 2001.
The Metropolitan Museum of Art. "Surface Tension," September 15, 2009–March 15, 2010.
New York. The Met Breuer. "Kerry James Marshall Selects: Works from The Metropolitan Museum of Art," October 25, 2016–January 29, 2017.