(Story reported by Holland Cotter for the NY Times)
The superb five-decade survey of drawings by Gerhard Richter opening at the Drawing Center in SoHo on Saturday is, without even trying to be, an event. It’s the first career overview of Mr. Richter in the United States since the much-praised “40 Years of Painting” at the Museum of Modern Art in 2002. It presents seldom-exhibited work, most of it abstract, in a medium that would seem a natural adjunct to his painting.
|a Gerhard Richter watercolor, 1988: Museum of Modern Art|
That both drawing and abstraction have enjoyed a recent vogue in New York makes the timing of this show, “Lines Which Do Not Exist,” feel right, though almost any time probably would be appropriate. Mr. Richter is an artist for many genres, styles and seasons.
|Gerhard Richter, "Lesende (Reading)" oil on linen, 1994: www.sfmoma.org|
Art-world types obsessed with painting’s supposed endangered status point to him as a keeper of the modernist art-for-art’s-sake flame, a true believer. Others take the distinctive coolness of his art as proof of his skepticism toward virtuosity, originality, expressivity, all the qualities that modernism holds dear.
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