ニューヨーク近代美術館のインスタグラム(themuseumofmodernart) - 3月6日 06時15分

“The narrative arc Richter creates begins in a banally sweet portrait image of a young woman and ends in a collective ritual of public mourning. Yet both, Richter seems to suggest, are inadequate to our understanding of what has taken place. What truth, he seems to ask, do photographs offer? Can violence or righteousness be discerned in the blur of grays?” –Leah Dickerman (@leah_dickerman), Director of Editorial and Content Strategy
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#GerhardRichter debuted his 15-painting suite “October 18, 1977,” concerning the radical left-wing Baader-Meinhof Group that had shaken Germany with a two-year campaign of terror, a decade after his dealer feared the artist had left potent political topics behind. Now on view in #TheLongRunMoMA, learn more about this mysterious cycle of paintings, its power, and its significance in contemplating the dangers of ideology: mo.ma/october18 (link in bio)
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[Credit: Gerhard Richter. "October 18, 1977" (detail). 1988. Oil on canvas, 15 panels, installation variables. The Sidney and Harriet Janis Collection, gift of Philip Johnson, and acquired through the Lillie P. Bliss Bequest (all by exchange); Enid A. Haupt Fund; Nina and Gordon Bunshaft Bequest Fund; and gift of Emily Rauh Pulitzer. © 2019 Gerhard Richter]

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