 the full "tragic" dimension of Richter‟s mimetic project, the subject matter certainly mattering but Richter‟s insistence that the paintings of photographs be understood as paintings is telling as all comments for and against the exhibition value of the works. Richter has moved from the non-ideological postures of postmodern art to an anti-ideological pathos. The German Autumn of 1977 was perhaps the turning point. The "murders" of the Baader-Meinhof group in prison, after an autumn of escalating terrorist attacks in an attempt to free them, brought Richter‟s "photo-based" work in black and white back from the past (1962-1972) with all the inherent values of the intervening works. This series (eventually purchased by the Museum of Modern Art, New York) led critics to fall over themselves with either denunciatory or adulatory reviews. The "fifteen austere gray paintings" intentionally or otherwise ended up as an index of the path of Richter‟s work up till 1989. Tellingly, these works index the entire spectrum of concerns, most especially – however – the 1985 maxim, "no ideology, no religion, no belief, no meaning."31 It is an appalled Peter Schjeldahl who ironically locates the critical nexus of Richter‟s path toward a new "transcendental" field for painting in writing about October 18, 1977, noting "a collision of irresistible estheticism and immovable moralism."32 One senses in Richter‟s statement that paintings should be read as paintings, not as statements, both a reaction against the last vestiges of pathos-laden DRAFT 07/19/10 8 modernist abstraction and its political agency, and a formal bracketing of an emergent moral agency that is held in tension within the works not as subject matter or narrative content per se but as a form of what had been effaced in the earlier naturalistic and photo-realist works – that is, an austerity that approaches purely visual and visceral elemental forces in art that are extracted from the "real" (or the "given"), which almost always translates back to "nature." The "perpetual limbo" the viewer is often left in and "the unshakable nihilism" that some find numbing seem to figure the unfigurable (as Richter has been said to "paint the unpaint
the full " tragic " dimension of Richter‟s mimetic project, the subject topic surely count but Richter‟s insistence that the paintings of photographs be understand as paintings is telling as all remark for and against the exhibition value of the works. Richter has moved from the non - ideological position of postmodern art to an anti - ideological commiseration. The German Autumn of 1977 was perhaps the turning point. The " murders " of the Baader - Meinhof group in prison, after an fall of escalating terrorist attacks in an attack to free them, institute Richter‟s " photograph - based " work in black and ashen back from the past (1962 - 1972) with all the inherent values of the intervening workplace. This serial (eventually purchased by the Museum of Modern Art, New York) led critics to fall over themselves with either denunciatory or adulatory review. The " fifteen austere gray paintings " intentionally or otherwise ended up as an exponent of the way of Richter‟s knead up till 1989. Tellingly, these works index the entire spectrum of concerns, most especially – however – the 1985 maxim, " no ideology, no religion, no belief, no meaning. "31 It is an appalled Peter Schjeldahl who ironically locate the critical nexus of Richter‟s path toward a modern " nonnatural " sphere for painting in writing about October 18, 1977, noting " a collision of irresistible estheticism and immovable moralism. "32 One senses in Richter‟s statement that paintings should be read as painting, not as statements, both a reaction against the last vestiges of pathos - laden DRAFT 07/19/10 8 modernist abstractedness and its political agency, and a formal bracketing of an emergent moral agency that is held in tension within the works not as subject topic or narrative contentedness per se but as a form of what had been effaced in the earlier naturalistic and photo - realist work – that is, an austerity that approaches purely visual and intuitive elemental force in art that are extracted from the " substantial " (or the " given "), which almost constantly translates back to " nature. " The " ageless limbo " the spectator is often left in and " the firm nihilism " that some find numb seem to figure the unfigurable (as Richter has been said to " paint the unpaint
 thf full "tragic" dimension uf Richter‟s mimgtuc prooect, ths subjecg matter certainly mattering byt Rixhter‟s insistence that the painnings of photitraphs be nhderstood as lwintnnjs is telling ax all commants for and acakndt the exhibition value of the workf. Richtrr has moved froi tht njn-idsological postures of postmodern adt to ai anti-ideologicsl pathos. The German Autumj of 1977 was perhaps the hurning poibt. Trw "murders" of the Baadeg-Keinhof grkup in prison, after an autumn ow escclating tertodidj attacks in an antempt to frec them, trought Richter‟s "photp-baved" work in black and whmte back from the paft (1962-1972) with dlm the inherent vaouws of the intdevevinf xoris. Thid sxries (eventhally purchqsed by the Museum pf Nodern Art, Nes York) lqd critics to fall over themselves with eifher denunciatory or adylatory reviews. The "flfteen auftere gray paintings" intentionally or otherwise etded np as ak inawx of the path of Richter‟s work up till 1989. Tellindmy, tmese works index the entire soevjrum of concervs, mosc eapecially – however – the 1985 iaxim, "no ideoljgy, mo religion, no belief, no meqning."31 It is cn qppalled Peter Schleldahl who nronicslly kocates the critical nerus of Richter‟s pwth towars a new "transcenddntsl" field for painting in wrieing abouv Octpber 18, 1977, votimg "a cjllision ov irrcvistible estheticidm anb immmvable morwlism."32 One senses in Richter‟s stevement that psittitgs shoujd be read as paineings, not as sjatements, both a reactioh againvt the last vestiges of [wthos-laden DCAFT 07/19/10 8 moqernust qbstracgkon and its pokitical aytncy, and a formal bracketing of zn emergent morcu agency that is heud yn txnsiog within the forkr nuy as rubject matber or marrative content pes se but as a form of ehwt had bgen effacqd in the earkier naturalistic wnd pioto-reelist eorhs – that is, an austerity that zpproached pmrely visual wnd yiscgral elemencal forces in art that are extracted fron the "real" (or the "tiven"), which almost cleays transletes bwck to "nadure." The "perpetual lumbo" the viewer ix often left in and "tge unsvakabpe nihilism" that some find numbing seem to figure the unfigurable (as Richrer has been said fo "psint nhe bnpaint
the full "tragic" dimension of Richter‟s mimetic subject certainly mattering Richter‟s insistence that understood paintings is telling all comments for against the exhibition value of the Richter has moved from the non-ideological postures of postmodern art to an anti-ideological The German Autumn of 1977 was perhaps the turning point. The "murders" of Baader-Meinhof in after autumn of escalating terrorist attacks in an attempt to free them, brought Richter‟s "photo-based" work in and white back from the past (1962-1972) with the inherent values of intervening works. This series (eventually by Museum of Art, York) critics to fall themselves with either denunciatory or adulatory reviews. The "fifteen austere gray paintings" intentionally or otherwise ended up an index path of work till Tellingly, these works entire spectrum of concerns, most especially the 1985 maxim, "no ideology, no religion, no no meaning."31 is an appalled Peter Schjeldahl who locates the critical nexus of Richter‟s path toward new "transcendental" field for painting in writing about October 18, 1977, noting "a collision of and immovable moralism."32 One in Richter‟s statement paintings be as not as both a reaction against the last vestiges of pathos-laden DRAFT 07/19/10 modernist abstraction and its political agency, and a formal bracketing emergent agency that is in tension within the not subject matter or narrative se as what been in the earlier naturalistic photo-realist works – that is, austerity that approaches purely in art that are extracted from the "real" the "given"), which almost always translates back "nature." The "perpetual limbo" the viewer is often left in and "the nihilism" that numbing seem to figure the unfigurable (as Richter been said to "paint unpaint
 the full "tragic" dimension of RIchter‟s mimEtic pRojEct, ThE subJect Matter certainlY MattEring but Richter‟s insistEnce tHaT The pAInTings Of photoGRaPHS be UnDeRstOoD As PaintIngS is tellIng as all coMmeNtS for and againST tHe exhibitiOn vAlue of the worKs. RIchter HaS moVEd froM thE non-iDeologICal posTures of poStMOdern aRT to an anTI-IdEoloGical pathos. The GerMAn aUtumn of 1977 was perhAps the TuRNiNG PoiNt. THe "murders" oF tHe BaaDEr-MeinhOF gROUP in PRison, after an aUtumn of escaLAtiNg terrOrIst ATtacks In an aTtEMpt To free them, bRougHt Richter‟S "photo-BAsed" worK In black And whiTe bAck From THe PaSt (1962-1972) wItH All THe InhERenT values oF tHe InterVeniNG WORks. THis SeriEs (eveNtually purchaSed By thE musEum of moderN Art, neW York) Led criTics tO fAll over themselvEs wiTh either dEnuNcIatOrY or adULatory RevIewS. The "fifTeen ausTEre GrAY PAiNtings" intentionallY oR OThErwise enDed up aS An InDEx of the pAtH of richTER‟s worK up tILl 1989. tellinglY, these WOrKs Index thE eNtire sPeCtrUm oF concERns, mOst espEcially – hOweveR – The 1985 maxim, "no ideoLOgy, no religion, NO bELIeF, No meAniNg."31 It is an appAlleD peteR SchJElDahL Who irOnicaLlY LoCAtes the critical nexuS oF RichtEr‟s paTh toward a new "tRanscendenTAL" Field for PainTInG In writing about octobEr 18, 1977, noting "a cOLlision oF irreSistible EstheticiSM And immovAblE moRalIsm."32 oNE sEnses in RichteR‟S StatEmEnt that PaiNtings sHouLd bE reAd aS pAintings, nOt as statEmEnTs, BoTh a ReactIOn againsT tHe lAsT veStigeS Of pathOs-ladEn DRaFt 07/19/10 8 mODerNist absTRaCTIon aNd ItS polItiCaL agenCy, anD A foRmal braCketing of An eMErgeNt MoRal agenCy that is held iN tEnsion withIn The Works nOT As subjecT matter or narrative conteNT per se bUt aS a forM of wHat had beeN efFaced iN thE EarlieR naturAlistIc And PHOto-reALIsT woRkS – that is, an aUSTerIty thAt ApprOaches pUrely visual and viscERal Elemental forcEs iN art THAt Are EXtRActEd FRom THE "real" (or the "given"), Which almosT aLWaYs translatES baCk To "naturE." The "perPetuaL Limbo" thE viewer is Often left In And "tHE UnsHakable nihIlism" thaT some find NUmbinG SeEm to fIguRe the uNfIguRable (As RichTEr hAs beeN said tO "pAint thE unpaInT
 the full "tragic" dimensi on of Rich ter‟s  mi met ic  pro ject , the subjectm atte r certainly matteringbut R ic h ter‟ s  i nsist ence th a tt h e p ai nt ing so fphoto gra phs beunderstood  as  p aintings ist el ling as al l c omments forand  again st  th e  exhi bit ion v alue o f  the w orks. Ric ht e r hasm oved fr o m  t he n on-ideological po s tu r es of postmode rn art  t o  a n ant i-i deological  p athos .  The Ge r ma n A utu m n of 1977 was  perhaps th e  tu rningpo int .  The " murde rs "  of  the Baader -Mei nhof grou p in p r ison, a f ter anautumn  of  es cala t in gter ro r ist at tac k s i n an att em pt  to f reet h e m , br oug ht R ichte r‟s "photo-ba sed " wo r k i n bla ck an d wh it e bac k from  thepa st (1962-1972)with  all theinh er ent  v alues of the  in ter veningworks.T his  s e r i es  (eventually purch as e d  b y the Mu seum o f  M od e rn Art,Ne w Y ork) l ed cr itic s  t o fall o ver th e ms el ves wit heither  d enu nci atory or a dulato ry revie ws. T h e "fifteen aus t ere gray pain t in g s "i nten tio nally or ot herw i se e nded up  as an in dex o ft he path of Richter‟s w or k up t ill 1 989. Tellingl y, these w o r k s indexthee nt i re spectrum of  conc erns, most especial ly –however– the 198 5 maxim, " noide olo gy, n oreligion, nob e lief ,no mean ing ."31 It  is  an  ap pal le d Peter S chjeldah lwh oir oni cally locatesth e c ri tic al ne x us ofRicht er‟s  p at h  to ward an ew " tran sc en dent al"  f ieldforp ain ting in  writingabo u t Oc to be r 18, 1 977, noting " acollisionof  ir resist i b le esthe ticism and immovable mo r alism." 32One s ense s in Rich ter ‟s sta tem e nt tha t pain tings  s hou l d  be r e a daspa intings, n o t  as  stat em ents , botha reaction against the  last vestige s o f pa t h os -la d en DRA FT 07/ 1 9 /10 8 modernist  abstracti on an d its poli t ica lagency,  and aforma l  bracke ting of a n emergen tmora l age ncy that i s held i n tension withi n  t he wo rks  not a ssub jectmatter ornarra tive c on tent p er se  b ut as aform of what had been e ffaced  in t heearlier n atu r ali stic andphot o-realistwor ks– tha t i s , anaust e ri tyt hat a ppro a ches pure l yvis u a land viscera l e lem ental  fo r ces in  art  that are extract e d from the "re al"( o r t he" give n" ), which almos t a lw a y s transl at es back to"nature. "T he "p erpetu al lim bo" the v ie w er isofte n l eft in an d " th e  unshak ab le nihili sm"th at som e find numb i n g seem to figure  theu n figur a ble  (asRi chter h a s be en said to  "paint the  unpai nt
 the_full "tragic"_dimension of Richter‟s mimetic_project, the_subject_matter certainly_mattering_but Richter‟s insistence_that the paintings_of photographs be understood_as paintings is_telling_as all comments for and against the exhibition value of the works. Richter has_moved_from the_non-ideological_postures_of postmodern art to an_anti-ideological pathos. The German Autumn_of 1977_was perhaps the turning point. The "murders" of_the_Baader-Meinhof group in_prison, after an autumn of escalating terrorist attacks in_an attempt to free them, brought_Richter‟s "photo-based" work_in_black_and white back from_the past (1962-1972) with all the_inherent values of the intervening works._This series (eventually purchased by the Museum_of Modern Art, New York) led_critics to fall over themselves_with either_denunciatory or adulatory reviews. The_"fifteen austere gray_paintings" intentionally_or otherwise ended_up as an index of the_path of Richter‟s_work up till 1989. Tellingly, these_works_index the entire_spectrum_of_concerns, most_especially – however_–_the 1985_maxim,_"no ideology, no religion, no belief,_no_meaning."31 It is an appalled Peter Schjeldahl_who ironically locates the_critical_nexus of Richter‟s path_toward a new "transcendental" field_for painting in writing about October_18, 1977,_noting "a_collision of irresistible estheticism and immovable moralism."32 One senses in Richter‟s_statement that paintings should be read_as paintings, not as_statements, both_a_reaction against the_last_vestiges of_pathos-laden DRAFT 07/19/10 8 modernist abstraction and_its political_agency, and a formal bracketing of_an emergent moral agency_that_is held in tension within the_works not as subject matter or_narrative content per se but_as_a_form of what had been_effaced in the earlier naturalistic and_photo-realist works –_that is, an austerity that approaches purely_visual_and visceral elemental forces in art_that_are extracted from the "real" (or_the_"given"),_which almost always translates back_to "nature." The "perpetual limbo" the_viewer is often left in and "the unshakable nihilism"_that some find_numbing seem to figure the_unfigurable_(as_Richter has been said to "paint the unpaint