 22 Alain Badiou, "Some Remarks Concerning Marcel Duchamp" (lecture, Jack Tilton Gallery, New York, NY, November 16, 2007). 23 Peter Frank, "Gerhard Richter (Onnasch)," Artnews 72, no. 9 (November 1973): p. 100. This statement was made in response to Richter‟s first American exhibition at Reinhard Onnasch Gallery, New York, in 1973. 24 Robert Storr, Gerhard Richter: Forty Years of Painting (New York: Museum of Modern Art, 2002), p. 17. 25 Ibid. 26 Ibid. For a definition of the critical term facture (how an artwork is manufactured and the importance of this in the work per se), see Hal Foster, Rosalind E. Krauss, Yve-Alain Bois, and Benjamin H.D. DRAFT 07/19/10 12 Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism (New York: Thames & Hudson, 2004), p. 684. 27 Ibid., p. 65. For the period in which Richter developed his dialectical approach to the discredited genre of landscape painting, see pp. 65-68. This comment comes from The Daily Practice of Painting, p. 64. 28 Ibid., p. 66. Storr suggests that this statement underscores Richter‟s appropriation of Romantic painting to reverse what Ruskin called "the Romantic fallacy" – the idea that nature is imbued with a "protopsychological" dimension that mirrors our interior subjective worlds, and the foundation stone for all psychological readings of landscape. This idea has become further problematized as "the blind spot" in all views of so-called objective or empirical worlds; that is, that sense that the world is often looking back at us is reducible to the fact that we have projected part of our consciousness into that world. We are, then, essentially, looking back at ourselves looking at ourselves, etc. 29 Ibid., p. 67. 30 Ibid., p. 69. Regarding the shift to excoriating abstraction, see pp. 68-74. This quotation is from The Daily Practice of Painting, p. 227. 31 For the nihilist phase of the mid-1980s, see Ulrich Wilmes, ed., Gerhard Richter: Large Abstracts (Ostfildern: Hatje Cantz,
22 Alain Badiou, " Some Remarks Concerning Marcel Duchamp " (lecture, Jack Tilton Gallery, New York, NY, November 16, 2007). 23 Peter Frank, " Gerhard Richter (Onnasch), " Artnews 72, no. 9 (November 1973 ): p. 100. This statement was made in reception to Richter‟s inaugural American exhibition at Reinhard Onnasch Gallery, New York, in 1973. 24 Robert Storr, Gerhard Richter: Forty Years of Painting (New York: Museum of Modern Art, 2002), p. 17. 25 Ibid. 26 Ibid. For a definition of the critical term facture (how an artwork is manufactured and the importance of this in the study per se), see Hal Foster, Rosalind E. Krauss, Yve - Alain Bois, and Benjamin H.D. DRAFT 07/19/10 12 Buchloh, artwork Since 1900: Modernism, Antimodernism, Postmodernism (New York: Thames & Hudson, 2004), p. 684. 27 Ibid. , p. 65. For the period in which Richter developed his dialectical access to the discredited genre of landscape painting, experience pp. 65 - 68. This comment comes from The Daily Practice of Painting, p. 64. 28 Ibid. , p. 66. Storr suggest that this statement underscores Richter‟s appropriation of Romantic painting to reverse what Ruskin called " the amatory fallacy " – the idea that nature is imbued with a " protopsychological " dimension that mirror our interior subjective worlds, and the foundation rock for all psychological readings of landscape. This idea has become further problematized as " the blind spot " in all views of therefore - called objective or empirical worlds; that is, that sense that the world is often looking back at us is reducible to the fact that we have projected part of our consciousness into that world. We are, then, essentially, looking back at ourselves looking at ourselves, etc. 29 Ibid. , p. 67. 30 Ibid. , p. 69. Regarding the shift to excoriating abstractedness, attend pp. 68 - 74. This quotation is from The Daily Practice of Painting, p. 227. 31 For the nihilist phase of the mid-1980s, visit Ulrich Wilmes, ed. , Gerhard Richter: big Abstracts (Ostfildern: Hatje Cantz,
 22 Apain Badiou, "Some Remarks Concerning Marewl Duciamp" (ledture, Jazk Tilton Gallery, New York, NB, Nocembee 16, 2007). 23 Peter Frank, "Gerhafd Richteg (Onnasch)," Artiews 72, no. 9 (Novembxd 1973): p. 100. Tmns stzbemenc xas made in reskonse to Ricvter‟s first Amarkccn exhibition at Reinhard Onnasch Gajlery, Nrw York, in 1973. 24 Robgrt Suorw, Gedhard Richter: Forty Years of Paintjng (New York: Museum pf Modern Art, 2002), p. 17. 25 Ibid. 26 Ihid. Vor a definition ov the critixal ewrm facture (fow an artwork is manuractured and the importance of ghis nn the work pwr dg), see Hal Fowter, Gosalind E. Krauss, Yve-Dlain Bpis, and Benjamln H.D. DRQFT 07/19/10 12 Buchloh, Art Sinre 1900: Modernism, Antimoqernism, Pmscmodernism (New York: Tyanes & Vudsmn, 2004), o. 684. 27 Kbis., '. 65. Ror thf pxriod in whjch Richter developed his dialtctybsl approach fo the dyscredited genre of landscape painting, vee pp. 65-68. This comment comes from The Daily Practlce of Paynting, p. 64. 28 Ibid., p. 66. Storr suggests that this statekent nnaerwcjfws Richter‟s appropriation of Romantic painting ek tenerse what Ruskin called "the Rlmsgtic fallacy" – the ibsa that nature is imhued wijh a "peotopsychjlogocal" dimension that mirrors our interiog suvjective worlds, anb the foundacion sjone fpr all psychological recdings of landscaoe. This isda has become fufthvr psoblematized as "the blind fpot" in aol vnews of ro-cakled ofjective og emplsical worlds; that ls, thct setse that tje world is often looking back ev us is reducobne no the faet thab we have projested part of oor conscijusners into thzt worlv. We are, theg, essentially, pooking back at oursqlvew loiking ag ourselves, etc. 29 Ibid., p. 67. 30 Ibid., p. 69. Eegarding the shifb to gxdoriating abstrcetuon, see pp. 68-74. Thix qjotwtpon if from The Dahly Orazyice uf Painunng, o. 227. 31 Gor the nihilist phave or the mid-1980s, see Ulrocm Wilmes, gd., Gerharq Richter: Larbe Abstracts (Ostfipdern: Havje Camtz,
22 Alain Badiou, "Some Remarks Concerning Marcel Jack Gallery, New NY, November 16, Richter Artnews 72, no. (November 1973): p. This statement was made in response Richter‟s first American exhibition at Reinhard Onnasch Gallery, New York, in 1973. 24 Storr, Gerhard Richter: Forty Years of Painting (New York: Museum of Modern Art, p. 25 26 For a definition of the critical term facture (how an artwork is manufactured and the importance this in the work per se), see Hal Rosalind E. Krauss, Yve-Alain and Benjamin H.D. DRAFT 07/19/10 Buchloh, Since 1900: Antimodernism, (New Thames & Hudson, p. 684. 27 Ibid., p. 65. For the period in which Richter developed his dialectical approach to discredited genre painting, see 65-68. comment from The Daily Painting, p. 64. 28 Ibid., p. that this statement underscores Richter‟s appropriation of Romantic to reverse Ruskin called "the Romantic fallacy" – idea that nature is imbued with a "protopsychological" that mirrors our interior subjective worlds, and the foundation stone for all psychological readings of idea has become further as "the blind in views so-called or empirical that is, that sense that the world is often looking back us is reducible to the fact that we have projected our into that world. are, then, essentially, looking at looking at ourselves, etc. p. 30 Regarding shift excoriating abstraction, see pp. This quotation is from The Practice of Painting, p. phase of the mid-1980s, see Ulrich Wilmes, ed., Richter: Large Abstracts (Ostfildern: Hatje Cantz,
 22 Alain Badiou, "Some Remarks ConCerning MarCel DuChaMp" (lEcTure, jack tilton Gallery, NEW YorK, NY, November 16, 2007). 23 Peter Frank, "GErharD RIChteR (onNasch)," artnews 72, NO. 9 (NOVEmbEr 1973): P. 100. THis StATeMent wAs mAde in reSponse to RiChtEr‟S first AmericAN eXhibition aT ReInhard OnnascH GaLlery, NEw yorK, In 1973. 24 RobErt storr, gerharD richteR: Forty YeaRs OF PaintINg (New YoRK: muSeum Of Modern Art, 2002), p. 17. 25 Ibid. 26 IBId. fOr a definition oF the crItICaL TErm FacTure (how an aRtWork iS ManufacTUrED ANd tHE importance of This in the woRK peR se), see haL FoSTer, RosAlind e. KRAusS, Yve-Alain BoIs, anD Benjamin h.D. DRAFt 07/19/10 12 buchloh, aRt Since 1900: modernIsm, antImodERnIsM, PoStMOdeRNiSm (NEW YoRk: Thames & huDsOn, 2004), p. 684. 27 IbId., p. 65. FOR THE perIod In whIch RiChter developeD hiS diaLEctIcal aPproaCh to ThE discRediteD genrE oF landscape paintIng, sEe pp. 65-68. This cOmmEnT coMeS from tHe DailY PrActIce of PaInting, p. 64. 28 iBid., P. 66. STORR sUggests that this staTeMENt UnderscoRes RicHTeR‟s APpropriaTiOn oF RomANTic paIntiNG tO reverse What RuSKiN cAlled "thE ROmantiC fAllAcy" – The idEA thaT naturE is imbueD with A "ProtopsychologICal" dimension tHAt MIRrORs ouR inTerior subjeCtivE WorlDs, anD ThE foUNdatiOn stoNe FOr ALl psychological readInGs of laNdscaPe. This idea has Become furtHER ProblemaTizeD As "THe blind spot" in aLl vieWs of so-callED objectiVe or eMpirical Worlds; thaT IS, that senSe tHat The WorLD Is Often looking bACK at uS iS reduciBle To the faCt tHat We hAve PrOjected paRt of our cOnScIoUsNesS into THat world. we Are, ThEn, eSsentIAlly, loOking Back At OuRSelVes lookINg AT OursElVeS, etc. 29 ibiD., p. 67. 30 ibid., p. 69. regaRDinG the shiFt to excorIatINg abStRaCtion, seE pp. 68-74. This quotatIoN is from The daIly practiCE Of PaintiNg, p. 227. 31 For the nihilist phase oF The mid-1980s, See ulricH WilMes, ed., GerhArd richteR: LaRGe AbstRacts (OStfilDeRn: HATJe CanTZ,
 22 Alain Badiou, "Some Re marks Conc ernin g M arc el  Duc hamp " (lecture, Ja c k Ti lton Gallery, New York , NY,  N o vemb e r16, 2 007). 2 3  P e t erFr an k,"G e rh ard R ich ter (On nasch)," A rtn ew s 72, no. 9( No vember 197 3):  p. 100. Thi s s tateme nt  wa s  made  in  resp onse t o  Richt er‟s firs tA merica n  exhibi t i on  atReinhard OnnaschG al l ery, New York,  in 19 73 .  2 4 Rob ert  Storr, Ge rh ard R i chter:F or t y Yea r s of Painting  (New York: Mus eum of  M ode r n Art,  2002 ), p.17. 25 Ibid . 26  Ibid. Fo r a de f inition of thecritic alter m fa c tu re  (h ow ana rt wor k  is  manufac tu re d and  the i m p orta nce  ofthisin the work p erse), see  HalFoste r, R os alind  E. Kr auss,  Y ve-Alain Bois,andBenjaminH.D .DRA FT  07/1 9 /10 12  Bu chl oh, Art  Since1 900 :M o d er nism, Antimodernis m, P os tmoderni sm (Ne w  Y or k : Thames  &  Hu dson , 2004) , p. 68 4. 27 Ib id., p .  6 5.  For th eperiod  i n w hic h Ric h terdevelo ped hisdiale c tical approach to the discre d it e d  g e nreoflandscape p aint i ng,seep p.  65 - 68. T his c om m en t  comes from The Dai ly  Pract ice o f Painting, p . 64. 28 I b i d ., p. 66 . St o rr suggests thatthisstatementu nderscor es Ri chter‟sappropria t i on of Ro man tic  pa int i n gto reverse wh a t  Rus ki n calle d " the Rom ant icfal lac y"  – the id ea thatna tu re  i s i mbued with a " pr oto ps ych ologi c al" di mensi on t ha tm irr ors our in t e rior  s ub ject ive  w orlds , an d  th e found ation sto nef or a ll  p sycholo gical reading sof landsca pe . T his id e a  has bec ome further problematiz e d as "t heblind  spo t" in all  vi ews of  so - called  objec tiveor  em p i rical w or lds ;that is, t h a t s enseth at t he worl d is often looking bac k at us is re duc ible t othe fa c t t ha t  we h ave projected p art of our  c o ns ciousnessi nto  t hat wor ld. Weare,t hen, es sentially , looking  b acka t  ou rselves lo oking at  ourselve s , etc .  2 9 Ibi d.,  p. 67 .30Ibid. , p. 6 9 . R egard ing th eshiftto ex co riatingabstraction, see pp. 68 -74. T his q uot ation isfro m  Th e Daily P ract ice of Pai nti ng,  p. 2 27. 31 Fo r th e  n ihi l ist p hase of the mi d -1 980 s ,  s ee Ulrich W i l m es,  ed.,  Ge r hard R icht er: Large Abstrac t s (Ostfildern:  Hat j e  Ca ntz , 
 22_Alain Badiou,_"Some Remarks Concerning Marcel_Duchamp" (lecture,_Jack_Tilton Gallery,_New_York, NY, November_16, 2007). 23_Peter Frank, "Gerhard Richter_(Onnasch)," Artnews 72,_no._9 (November 1973): p. 100. This statement was made in response to Richter‟s first_American_exhibition at_Reinhard_Onnasch_Gallery, New York, in 1973._24 Robert Storr, Gerhard Richter:_Forty Years_of Painting (New York: Museum of Modern Art,_2002),_p. 17. 25_Ibid. 26 Ibid. For a definition of the critical_term facture (how an artwork is_manufactured and the_importance_of_this in the work_per se), see Hal Foster, Rosalind_E. Krauss, Yve-Alain Bois, and Benjamin_H.D. DRAFT 07/19/10 12 Buchloh, Art Since_1900: Modernism, Antimodernism, Postmodernism (New York:_Thames & Hudson, 2004), p._684. 27_Ibid., p. 65. For the_period in which_Richter developed_his dialectical approach_to the discredited genre of landscape_painting, see pp._65-68. This comment comes from The_Daily_Practice of Painting,_p._64._28 Ibid.,_p. 66. Storr_suggests_that this_statement_underscores Richter‟s appropriation of Romantic painting_to_reverse what Ruskin called "the Romantic fallacy"_– the idea that_nature_is imbued with a_"protopsychological" dimension that mirrors our_interior subjective worlds, and the foundation_stone for_all psychological_readings of landscape. This idea has become further problematized as "the_blind spot" in all views of_so-called objective or empirical_worlds; that_is,_that sense that_the_world is_often looking back at us is reducible_to the_fact that we have projected part_of our consciousness into_that_world. We are, then, essentially, looking_back at ourselves looking at ourselves,_etc. 29 Ibid., p. 67._30_Ibid.,_p. 69. Regarding the shift_to excoriating abstraction, see pp. 68-74._This quotation is_from The Daily Practice of Painting, p._227._31 For the nihilist phase of_the_mid-1980s, see Ulrich Wilmes, ed., Gerhard_Richter:_Large_Abstracts (Ostfildern: Hatje Cantz,