No abstract

No abstract

The essay examines the reception of Gerhard Richter in a range of his torical writing and exhibitions both in and outside Germany. Drawing on critical theories of reception, it is argued that the history of Richter's oeuvre is created as much by the artist himself-who actively controls the construct of his oeuvre-as by curators, critics, scholars, and biograph 186 Julia Gelshorn interest in German postwar art in relation to historical trauma. With the biographical turn, certain works by Richter became the subjects of almost contradictory narratives and stories and ultimately, deceptive witnesses of an exemplary German history.

No abstract

Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'