The Denver Film Center brings major cause for celebration to it's screens starting June 29th, at least for those seeking a sublime cinematic moment related to contemporary art. "Gerhard Richter - Painting" is a new documentary that supremely delivers on its title, and then some. Richter is generally thought to be the most celebrated painter alive, rightfully so, his output spanning well over 40 years with complete mastery of the realist genres as well as abstraction. While prolific in contextualizing his thoughts on art, painting and life on paper over the last few decades, Richter is known to be largely camera-shy or at least rarely interested in being in front of a camera even though ever bit of his persona and career practically scream for it. Which is one of the most enticing factors when faced with the possibility of this new film, it delivers an astoundingly rare premise that, content be damned, would have most fans lining up in the streets to see it. But one would be absurd to think that Richter would present himself on film in any way but with supreme aplomb, and indeed the proceedings are rare and exquisite as one could ask for.
What is documented is Richter preparing several new large-scale paintings, as well as an entire new solo exhibition of his works for his primary NY dealer Marian Goodman. The scope of the exhibition that Richter is preparing is beyond what most gallerists can fathom, it certainly set my head spinning at the amount of space that one might entertain at the highest levels. But even more fascinating is Richter's approach to the final presentation, particularly the threat that he might just alter the paintings once they have been installed in the space. This might seem preposterous to the average viewer, and indeed it is on so many levels, but it really solidifies the value and importance one might consider in regards to the very idea of an "exhibition," it's moment in time and particularly career. Richter can presumably do whatever he wants to at this point, there is really no need or even cause for scrutiny from anyone but himself, and the documentary seems to support that on many different levels as the actual premise. Anyone who has "read" Richter knows that he has a strange and honest relationship to the very idea of painting, one that he continually seems to push further and further in his career.
In leading up to the installation of works, we get to watch Richter in action while he considers and creates two of his large-scale abstracts. And if there was ever an appropriate word for abstract painting in this case, action is it, though there is a lot to consider in what leads up to the actions we get to see, most of which occur with a custom squeegee applicator that in some cases spans the entire length of the canvas. There doesn't necessarily seem to be anything magical about Richter pulling this applicator loaded with paint across the canvas other than the very fact that he has "come to this," though it is an exquisite sight to behold, particularly in relation to Gerhard's unease in being observed. It's most compelling when considering the path in which he moves forward, wondering just what his intentions might be when we know that the result is likely to be a complete negation of color, substance or form of any kind. So why would this be thrilling to watch? Better to answer that question yourselves, those with a passing interest in art or Richter himself might have trouble reconciling many aspects of this documentary. But those who embrace the relevance, value and spiritual nature of artistic creation should reach some pretty ecstatic levels here. We sure did and will surely go back for more next week!
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