This publication brings together four texts which analyze Gerhard
Richter's monumental project Atlas, an assemblage of photographs
that he has collected since 1962. Atlas, which at present comprises
more than 5,000 images -- ranging from political portraits to
landscapes and from found photojournalistic pictures to photographs
taken by the artist himself -- constitutes an ordered collection of
personal visual memories from which Richter draws the themes and
motifs for his ongoing exploration of the possibilities of
painting. Buchloh examines Atlas as a mnemonic device, comparing
Richter's assemblage to Aby Warburg's 1927 monumental project on
collective memory; Chevrier distinguishes European and American
uses of photography and art and positions Richter's work in
contrast to that of the Photorealists and American Pop artists;
Zweite discusses Atlas as a response to the tension between
semantics and semiotics in Modernism; and Rochlitz analyses the
complex relationship between photography and painting in
contemporary art with specific reference to Richter's works Ema and
Betty.
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