Mark Seibold I enjoyed this interview. He seems very genuine.

@Xiaoxue Wang it is "easier" for him to do realistic paintings because they do not require as much physical work in opposition to his abstract paintings. He said that because the interviewer asked him if he painted his "two" styles at the same time or at different times, to which he responded that he did not and the reason is what you quoted him on :)

ohtheglamourmusic Wonderful wonderful man.

When nothing disturbs me ...lies! It's all disturbing like 2 miles of knotted rope , ok -i stop- it's blown out , no mojo. Nowhere left to run .

It's a normal answer.

I agree. Lovely person. Shy. Very sensitive. An intuitive. Not someone who over-intellectualises or talks in an ego-inflated Art-Speak. He says several times: life is hard - you sense his struggle and I for one feel with and for him.

@@mimisetontotally and well said

I agree. What are your other influential artists?

It isnt´t by chance that it is called PAIN-ting !

It's about moving the paint to make it become more than the paint

Nice concise comment, Sir, on a concise and serendipitous documentary, which makes a beautiful well resolved short film.

+Zisch2 i totally agree. i feel like making him speak english takes away a lot of content from what his answers could have been

I agree , yet...he's a painter ,only the pictures mater I can to see...if I read that's different..we should not ask for words..I don't actually give a frolicking about his politics or his opinion at all , often btw I hate having to put stuff into words to explain - shut up an pay me , or just shut up ...my new life motto ... Thanks!

yup

It is very distracting to read subtitles, when viewing an art documentary. There are others where he speaks German. This is good for the English speaking world.

is he like this in general? i mean he doesnt seem like an highly intellectual/educated artist rather like a normal working class person who makes art from the way he talks!?

James Georgopoulos lol wut

jealous?@@zpango2000

I did the exact same thing in 1973, when I was 18 1/2, taking photo silkscreen printing as an art major at Mount Hood Community College near my home town of Portland Oregon. I began photographing my family as a young child with our parents Kodak box camera, that must have been "banal images", as Richter refers to them here. Then I purchased a more serious 35mm camera by the time I started art college at age 18 1/2, yet my intentions were to make masterpice oil paintings, and I was taking photography classes at the same time. My father was upset when he looked at my class schedule one day with our mother and said, look he's taking photography, he'll never learn how to use a paintbrush and paint again, [and he was absolutely right because that's what happened for the next 20 or 30 years for me, as my photography became more worldly known in astronomy photographs of the night sky being published in famous magazines, than my artwork. At the same time my father showed me how to cut out magazine faces as portrait photographs from magazines, soak them in solvent solutions, turn them over and transfer them to a clean sheet of paper. So I produced a large crowd, or an audience of people in this composited method, similar to what was just prior seen on The Beatles Sergeant Pepper's album cover. This was the exact same process that Robert Rauschenberg showed Warhol before he made his first silkscreen prints. What's even more ironic, is that Richter appears a lot like our German grandfather, [our father's father,] also German background. Richter must have seen these Warhol screen print images about five years earlier than I, yet Richter is about 18 years older than me. Even more ironic is that the interviewer here from the Tate Gallery in London is where my painting teacher at Community College in Gresham Oregon had exhibited his work at the Tate before he became a painting instructor, and I learnd later that he was a famous Oregon artist, and later the creator of the Pacific Northwest college of Arts, Jay Backstrand. Today, the college has taken over as the new Portland Art Museum Art School, where our father began to attend in 1949 taking painting lessons from the famous Louie Bunce, who was a friend of Jackson Pollock's. So this has gone full circle for me, and why I relate to this video so closely, as it shows how small the world really is.

@@MarkSeibold Wow, just wow. Can you post a link to your work?

ohtheglamourmusic Yes. Brilliant.

welcome to the world of art dealers ! (Or curators...?)

@@rolfschulte4747 curators* but art dealers would be much worse or more the less the same as Serota to be honest...

He corrects Richter and acts like a know-it-all, he's definitely taking advantage of his position. That's why the artist should have been let speak in his native language!

funny i thought the same

You can see an example of this developing in the movie „Synecdoche New York“.

Not sure there is such thing as Warholian sense

You sound pretendious and egoist

Sounds like something Jonny Greenwood would compose

I would not consider that question 'worthless' as you suggest in your comment, but well placed to open debate towards other arts and means of expression available to artists, poetry perhaps, reference to Richter's feelings and experience. The words 'honest' and 'subtle' and 'polite but surprising' may be better substitutes for 'worthless' in this case, which infers that the artist's answer was in some way less than meaningful and not educational, which was clearly not your intention.

He does seem incredibly serious, which compared with RIchter's lightness almost makes him seem kind of...almost "mean", if you will. But that's just my take :p And, obviously I know he's not mean, he just seems very serious compared to Richter.

The problem with his questions is not that they are worthless. They come from another world, the world of art market, museums and exhibitions. THe answers Richters show that so much, as he does not really know what to say. These are not the questions he is asking himself in his life. So as an interviewer myself I know it is very hard to connect to the interviewee, especially if it is something so unique as Richter. Maybe a question would have been: What do you ask yourself?

Leonardo, Bernini, Raphael, Picasso, Miro, Dali, Renoir, Matisse, Koons, Hirst, Johns, Indiana, were all painters who also sculpted.

I asked the maker of the documentary, he told me that it was done by Adem Ilhan and Caroline Plummer in a special set at the 291 Gallery, years ago. I'm pretty sure it's not online anywhere.

the music is phenomenal

Juan ...in deed silence is the only way. (...anyway, the music is not 'noise', to be fair)

MayBe I didn't mean the music was not good, I mean its noise in the sense that noise affects signal.

I am a 4th generation German American artist, as both of our parents and some grandparents were German artists. I found the music rather abstract and appropriate. What would you say if Gerhard Richter had chosen this music for the documentary?

Its such a predictable, cliche music too. The whole thing is rubbish anyway.

I'll ask again, what would you say if Richter chose the background music? Take a look at the Wikipedia chapter on his 'Art'. It states that he chose to pair it with modern minimalist composers, John Cage, and Steve Reich, and other modern 20th century composers. Some of the opening music sounds identical to the soundtrack in Wim Wenders- Wings of Desire. I wonder if it's the same composer.

I'm laughing because I misheard him as saying "why not, man?"

wie ?

the interview is like an interrogation