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Home Dead (Tote) from October 18, 1977.

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Dead (Tote) from October 18, 1977.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-21.jpg
Title	Dead (Tote) from October 18, 1977.
Alternative Title	Dead, from October 18, 1977 series, 1988.
Creator	Richter, Gerhard (German painter, born 1932)
Date	1988
Cultural Context	German West German European Western European
Style/Period	Contemporary Postmodern
Theme	Paintings (visual works) Oil paintings (visual works) Series (groups) Black-and-white photographs Photographs Blur Metaphysics Figurative art Figures (representations) Profiles (figures) Activists Rote Armee Fraktion [Red Army Faction, West Germany] Deaths Suicides Social conflict Social issues Politics Ideology Idealism Terrorism
Subject	Paintings Oil paintings Photographs Activists Left-wing extremists Terrorists Dead persons Death Suicides Social justice Political issues Politics & government Protest movements Opposition (Political science) Student movements Terrorism
Description	"[…] the German painter Gerhard Richter […] looked back mournfully on painting's loss of public function in his October 18, 1977 (1988), a cycle of 15 paintings which mimicked the appearances of blurred black-and-white photographs. Richter had initially produced 'photo-paintings' just before Malcolm Morley in the 1960s. However, by contrast to Morley, his works frequently possessed a metaphysical cast which aligns him with a lesser-known American-based artist, the Latvian-born Vija Celmins. […] This oscillation between an informationally saturated surface and elusive subject assumed a political edge in Richter's October 18, 1977. The cycle dealt with the apparent suicides, ten years previously, of members of West Germany's militant Red Army Faction. Having lived under a Stalinist regime in Eastern Europe, Richter abhorred ideological dogmatism. Nevertheless he felt some sympathy for the terrorists as misguided heirs of the idealism of 1968. Aware that photographs had originally been instrumental in implanting ideologically tinged images of the terrorists in the German public's mind, Richter submitted such imagery to his painterly blur. As though reversing the terms of Eric Fischl's reworking of Géricault [The Old Man's Boat and the Old Man's Dog, 1982; Raft of the Medusa, 1819], he filtered photographic imagery through a former technology of public address (the depictions of dead terrorists echoed previous paintings such as Manet's Dead Toreador or 1864). At the same time, by obliging his spectators to adjust their positions in relation to his blurs (in order to 'focus' them), he implied that, just as painting and photography were making competing demands from within the same object, so ideology's claims were unresolvable." (Excerpts, pp.214-216)
Material	Oil on canvas Oil paint (pigmented coating) Paint Canvas
Measurements	62 x 62 cm
Technique	Oil painting (technique) Painting (image-making)
Work Type	Paintings Oil paintings
Repository	Museum of Modern Art (MOMA) (New York, New York)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.216, fig.111)
Rights	Photograph reproduced in Hopkins courtesy: The Museum of Modern Art, New York. Purchase. Photo © 2000, The Museum of Modern Art, New York.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 826-21.jpg
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Home Dead (Tote) from October 18, 1977.

Dead (Tote) from October 18, 1977.

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