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Mirror, Blood Red

Gerhard Richter German

Not on view

Featured in Western painting since the Renaissance and approached by modernists as a literal self-reflexive device, the mirror was used in American Minimalist sculpture of the 1960s to trigger a new sort of perceptual self-presence. For Richter, making reverse-pigmented mirrors became a way to quietly challenge the avant-garde monochrome as well as to explore a counterpoint to the gestural, vivid exuberance of his own painting. "In the case of the colored mirrors, the result was a kind of cross between a monochrome painting and a mirror, a ‘Neither/Nor’—which is what I like about it." Encounter with this example simultaneously enables and convolutes a narcissistic desire for mirroring; spectators confront their own presence, saturated in the bloodred chroma.

Mirror, Blood Red, Gerhard Richter (German, born Dresden, 1932), Enamel behind glass

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