Gerhard Richter

It takes 100 artists from the canon of Western art and presents them as Black artists.

Salvador Dalí, Alberto Giacometti, Gerhard Richter, Cy Twombly.

The result is immediate.

Problem solved.

No, you're going to get into the next space and you're going to still be going, oh, if I only had more room, oh, if I only had more height, if I only had more concrete, like that's just a nonstop.

I mean, you could be Gerhard Richter in a 40,000 square foot space.

And he's probably going, I wish I had 50,000 square feet.

And that's just, so it's make where you are and make what you make.

And because Art Basel Paris has become a very sort of premier fair, and the biggest galleries have taken very expensive works, now that, you know, Hauser & Wurst does this thing where they hold something back and announce it on the day.

I think for them it was a big Gerhard Richter painting.

But there were several.

Gagosian sold a big de Kooning for $10 million.

There was a Richter sold for $10 million.

At Pace, they had a Modigliani nude.

Now, another work from that series, or two other works from that series, have sold for $140 and almost $80 million worldwide.

Apparently he's got another movie which is supposedly very, very good as well.

The one about Richter.

Gerhard Richter.

Yes, that makes sense.

It's not that great.

He used to be an architect and he's just super curious.

He introduced me to Leonardo da Vinci and The Who, for example, and also Gerhard Richter, and also hiking and architecture, obviously, and design and typography from his handwriting.

I

don't

And the sales seem to be good.

I think Hausen and Wirth sold a Gerhard Richter piece Rococo table in the region for around $10 million US.

I've just had an email through from David Zwirner.

They sold four paintings by Robert Ryman for $4 million, $1.25 million, $850,000 and $650,000 each.

I was like super painter guy when I first started.

And I didn't really get abstract expressionism until – I watched this documentary on Gerhard Richter.

Yeah.

And I was, and it was like, he was basically just going like, I, you know, these, these colors are beautiful.

And really I feel like I kind of grew as an artist as a result of that.

um so yeah it's like there's there's something for everybody and if it was all the same and it was all held to this one kind of standard beyond just making a great piece that works for its audience then everything would be boring and suck you know

yeah totally you know one thing about gerhard richter and those guys is uh I would call them more figurative expressionists, actually, than abstract.

Oh, okay.

The, uh, the things that we can connect to Buñuel, um, these dissections, these, um, um, collage type of, uh, flows.

Uh, I'm, I'm just looking at a film just like I could look at, um, James Joyce's writing or a paint- a, a painting from Gerhard Richter as the artist putting certain things together that, as I, as I have said many times before, I could never grasp what Bergman really was doing, and much less the things that he did of which he was not aware of by the way he did them.

And the second thing is that I cannot, I cannot, um, separate, uh, the, these techniques to the point that I can compare them to what I could see today because they are coming from a different place.

Uh, you know, doing this with a camera with that angle, with that, uh, lens, uh, uh, that could be seen as the same, but the, the context and the intentionality in, in how, um, Bergman does it, at least in my eyes, the way I perceive the, the works of him that I have seen, um, the works of his that I have seen, I just see, uh, an artist doing things that on one side I have to simply accept and at the same time, what is happening with me? How is it affecting me when I, uh, I don't know if [laughs] I'm assuming that somebody has seen this, but this is the very first time that I see that when at the very beginning of the film, you see the film saying start nine, eight, seven.