Since the 1960s, Gerhard Richter has understood painting as a continuum, a brace around the breaks of the 20th century. Abstraction and realism separated East and West in the Cold War. Judge, who was confronted with the requirements of Socialist Realism when he studied in Dresden, learned the tradition of abstract painting as well as the departure from painting in the Fluxus movement and the art of action after his departure to the FRG at the Düsseldorf Academy.
In the early 1960s, Gerhard Richter began to question the painting that still occupied him. In his series of gray pictures in the 1970s, he reacted to the rejection of painting with monochrome works.
In the color gray he saw a possibility to speak political topics without aestheticizing them. He transcribed documents of his family history into black and white painting as well as historical documents or daily newspaper images.
In the series of the paintings around 1970, For other pictures, he photographed small details from his color palette and transferred them to large-format canvases using photorealistic techniques. In the color charts of the 1970s, he left the neighborhoods of colors to chance and subjected painting to an objective process. Since 1976 the work group of the abstract pictures has been created, in which judges leave the paint application with a brush, squeegee and spatula to an interplay of conscious decisions and random processes. These works form the majority of his oeuvre.
The exhibition is being developed in cooperation with the Gerhard Richter Archive of the Staatliche Kunstsammlungen Dresden. Curators of the exhibition are Dietmar Elger, Gerhard Richter Archive, and Ortrud Westheider, Museum Barberini.