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Article

Beyond Belief: Chance, Authorship, and the Limits of Comprehension in Gerhard Richter’s Strip

Art Department, Lander University, Greenwood, SC 29649, USA
Religions 2019, 10(4), 275; https://doi.org/10.3390/rel10040275
Received: 2 February 2019 / Revised: 9 April 2019 / Accepted: 12 April 2019 / Published: 17 April 2019
For nearly six decades, Gerhard Richter has challenged the conceptual and visual limits of contemporary painting. His 2011 work Strip overloads the viewer’s visual perception. Richter created this unique digital print using a process that deliberately employs chance to circumvent the artist’s authorship. This article examines the history of Richter’s skepticism of creative authority and the strategies he has developed to realize an art that exceeds the limits of human skill and imagination. Although he remains an atheist, Richter frames his pursuit of an incomprehensible art in terms of a longing for a belief in God. View Full-Text
Keywords: Gerhard Richter; contemporary painting; Strip; chance; belief; skepticism; authorship; abstract painting; Cologne Cathedral window Gerhard Richter; contemporary painting; Strip; chance; belief; skepticism; authorship; abstract painting; Cologne Cathedral window
MDPI and ACS Style

Romaine, J. Beyond Belief: Chance, Authorship, and the Limits of Comprehension in Gerhard Richter’s Strip. Religions 2019, 10, 275. https://doi.org/10.3390/rel10040275

AMA Style

Romaine J. Beyond Belief: Chance, Authorship, and the Limits of Comprehension in Gerhard Richter’s Strip. Religions. 2019; 10(4):275. https://doi.org/10.3390/rel10040275

Chicago/Turabian Style

Romaine, James. 2019. "Beyond Belief: Chance, Authorship, and the Limits of Comprehension in Gerhard Richter’s Strip" Religions 10, no. 4: 275. https://doi.org/10.3390/rel10040275

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