This week, a sculpture by Gerhard Richter, STRIP-TOWER, opened to the public. The installation is sited on the plinth at Serpentine South in Kensington Gardens. STRIP-TOWER represents Richter’s second installation at Serpentine (and will be on view through October 27).[...] Richter completed STRIP-TOWER specifically for Kensington Gardens. The structure is cruciform-shaped, indirectly recalling structures by Ludwig Hilberseimer from the 1920s, and other high-modern edifices.

Gerhard Richter: Endgadin at Hauser & Wirth, St. Moritz, documents Richter’s ongoing fascination with the Swiss Alpine Engadin surrounding the village of Sils Maria and the Fex Valley (Val Fex) in more than sixty overpainted photographs (Übermalungen), together with paintings and works on paper, drawn from a quarter century (1989–2018) of repeated visits to the region. Supplemented by complementary exhibitions at the Segantini Museum (St. Moritz) and the Nietzsche-Haus (Sil Maria), this show reveals how Richter mines the pictorial possibilities offered by overlaying abstract gestural swipes, drips, and smears on small format, commercially developed snapshots of the region. Ultimately, what might appear as transgressive acts of defacement transform private memories into indelible public revelations.

„Lebensfreude“ lautet der Titel der 63 Quadratmeter großen Arbeit des Ausnahmekünstlers Gerhard Richter, die dort in Teilen freigelegt wird. Die 1956 entstandene Diplomarbeit des Malers zeigt verschiedene Figurengruppen in unterschiedlichen Alltags- und Freizeitszenen. [...] Kaum ein Besucher wusste, was sich hinter der nüchternen weißen Wand im Treppenhausfoyer des Deutschen Hygiene-Museums verbirgt: Ein „echter“ Gerhard Richter, ein monumentales Frühwerk des weltberühmten Künstlers mit den Dresdner Wurzeln. 1979 wurde es überstrichen und geriet nahezu in Vergessenheit. Jetzt wird es im Rahmen einer Schaurestaurierung teilweise freigelegt. Das einzigartige Zeitdokument gelangt damit wieder in die Öffentlichkeit.

Beim Soft Opening von „Gerhard Richter. Werk im Plural. Aus der Sammlung Olbricht“ (3. März - 28. Juli 2024) am Sonntag im Olaf Gulbransson Museum Tegernsee standen die Besucherinnen und Besucher Schlange. [...] Aus den lückenlosen 187 Editionen und Multiples Gerhard Richters von 1965 bis 2023 sowie zahlreichen Originalen konzipierte der Sammler mithilfe seiner Kuratorin Sarah Sonderkamp die Ausstellung für das Olaf Gulbransson Museum. Insgesamt 88 Offsetdrucke, Künstlerbücher, Tapisserien, übermalte Schallplatten und überrakelte Fotografien mit Unikatcharakter zeugen in den nächsten Monaten in Tegernsee vom extensiven Schaffen des Künstlers.

The strength and pleasure of Gerhard Richter’s work lies in its boundlessness, its variety, its sneakiness, its reliance on inner compulsion and intelligence. Contradictory, antithetical, incompatible: Richter swerves from one way of working to another, in an exhibition that fills two floors of David Zwirner in London (until 28 March). This could almost be a group show rather than work made by a single artist. Richter won’t be pinned down, and he still wants to surprise himself, even as he approaches his 92nd birthday next month.

The exhibition “Gerhard Richter” (25th January–23rd March 2024, David Zwirner), also featured are important recent works that illustrate Richter’s longstanding interest in the idea of reflection—in both the material and the phenomenological sense of the word. His large-scale paintings and room-sized installations, which are notable for their use of glass and mirrored surfaces, serve as sites for the perpetual creation and contemplation of a new kind of abstract image.

“Gerhard Richter: Engadin" (December 16, 2023 - April 13, 2024) will be the first exhibition to explore Richter's deep connection with the Swiss region. Curated by Daniel Schwarz, the exhibition takes place in three gallery spaces: the Nietzsche-Haus in Sils, the Segantini Museum and Hauser & Wirth near St. Moritz, and brings together over seventy works from museums and private collections - including paintings, overpainted photographs, drawings and objects.

Gerhard Richter never confined himself to a medium, just as he never assigned himself to a genre. He has always, within his protean work, played between forms and artistic trends. He was in turn a leader of romanticism and a master of abstraction; he is the same man behind sumptuous little oil seascapes and stunning pixel paintings. Gerhard Richter is both tradition and its rupture; to the questions that his art poses, he opposes their visions. And these works, mixing photography and painting, are the ultimate incarnation of this ambivalence. The Gerhard Richter Archiv presents his "Overpainting" at the Albertinum, Dresden, from 26.08. to 19.11.2023.

The Overpainted Photographs are intimately linked to Richter’s artistic works. Every day, after working on his large-format paintings in his studio, Richter dragged the photographs through the wet paint left on his doctor blade. The result depended heavily on chance, and surprising new realities were formed. In 2017, Gerhard Richter announced his retirement from painting, and at the same time the end of his work on the Overpainted Photographs.

Es war schon ein merkwürdiger Zufall. Ende März eröffnete die Gerhard-Richter-Dauerausstellung inklusive des »Birkenau«-Zyklus in der Berliner Neuen Nationalgalerie, nur wenige Wochen später eine Schau in der St.-Matthäus-Kirche gleich nebenan, die Gemälde zeigte, mit denen der Künstler Michael Müller Richters Werkreihe kritisch kommentiert. Davon, dass es zu dieser Zusammenführung kommen sollte, erfuhren Müller und wohl auch Richter erst im Vorbereitungsprozess.

One​ way to get a perspective on the contemporary art world is to look at two databases, Artprice and Artfacts, which provide rankings of artists based on saleroom prices and exhibition exposure respectively. When I first did this more than ten years ago, the artist who came out on top, outperforming all other living artists when the rankings were combined, was Gerhard Richter. [...] Richter somehow manages to do both. On the one hand, he uses an oversized squeegee to make huge colourful abstracts that can sell for £20 million each; on the other, he is the creator of austere constructions in glass, rectangular panes either left completely clear or painted in monochrome, which can function as three-dimensional works of sculpture or form part of an installation for a museum show or a Documenta. These mirrors and blank sheets of glass attract plenty of critical attention – Benjamin Buchloh, in Gerhard Richter: Painting after the Subject of History, devotes more than a hundred pages to them.