Harry Moses

In one of the few times that Corrina Belz’s documentary Gerhard Richter Painting breaks its present-tense, fly-on-the-wall approach to its titular subject, an archival black-and-white interview of a much younger Richter is shown. In the interview, Richter states, “To talk about painting is not only difficult but perhaps pointless, too. You can only express in words what words are capable of expressing, what language can communicate. Painting has nothing to do with that.” Belz’s film seeks to meet the artist on his own terms, providing neither a complete, contextualized biography nor a day-in-the-life diary of her subject. Gerhard Richter Painting is as elegantly simple and straightforward as its title suggests: instead of chronicling the artist’s history or delving into his personal life, the film seeks to capture the process by which the most obvious subject that defines the artist’s life is made manifest, his art. Belz’s minimalist approach to her subject is refreshing. In the movie, we are not given a “definitive” non-fiction account of Richter, but Belz attempts instead to let the subject define himself, both in the traditional fashion of verbal address (though this takes the form of impromptu confessionals during work breaks, and doesn’t revert to turning Richter into a “talking head”) and in capturing Richter hard at work constructing his paintings in an incremental fashion.

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published: 10.30.2014
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published: 10.29.2014
D+
published: 10.27.2014
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published: 10.24.2014
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