Gerhard Richter, Abstraktes Bild, 1987. Oil on canvas, in 2 parts, each 102 3/8 x 78 7/8 in.
Total overall dimensions 102 3/8 in. x 157 3/4 in.
NEW YORK, NY.- Phillips presented the star lot of the fall auction season – Gerhard Richter’s exceptional Abstraktes Bild. Painted in 1987 and comprised of two large-scale panels, the work is over thirteen feet wide and nearly nine feet tall, making this one of the largest works from Richter’s oeuvre to ever be offered at auction. Following a tour to Taipei and Hong Kong, the monumental painting will be exhibited in New York in the lead up to the Evening Sale of 20th Century & Contemporary Art, where it will be offered with an estimate available upon request.
Jeremiah Evarts, Deputy Chairman, Americas, Senior International Specialist, 20th Century & Contemporary Art, said, “A towering example from the most significant body of work in Richter’s career to date, we are honored to present Abstraktes Bild as the cornerstone of our fall auction season. Bearing extraordinary exhibition history, the significance of this painting’s place in the artist’s oeuvre cannot be overstated. The work was first exhibited at Durand-Dessert, Paris in 1988. A decade later, it was shown at the prestigious Carnegie International, a sign of the work’s enduring ability to represent Richter’s artistic output of the 1980s, arguably the most important decade of his career. With the market for similar paintings by Richter from this period finding homes in some of the most prestigious collections across the globe, we look forward to presenting this remarkable work to Phillips’ community of collectors.”
Abstraktes Bild displays Richter’s virtuosity in abstraction and his inimitable talent as a colorist. With Richter’s unique use of the squeegee, a tool he began using for abstract work just one year prior, the artwork captures the movement of the artist's body through the painting process. Painted shortly after the artist moved away from his figurative, photo-based painting, Abstraktes Bild reveals the explosive power, depth of color, and emotional resonance that would distinguish Richter as one of the most profound abstract painters of his generation.
Besides the present work, there is only one other Abstraktes Bild created in 1987, of similarly epic scale, which resides in the Museu Coleção Berardo, Lisbon. Similar Abstrakte Bilder from 1986 to 1989 – Richter’s most desirable period – populate esteemed public and private collections around the world, including those of The San Francisco Museum of Modern Art; Ergo Versicherungsgruppe AG, Düsseldorf; Instituto do Patrimônio Histórico e Artístico Nacional, São Paulo; Carré d’Art, Nîmes; Landesbank Baden-Württemberg, Stuttgart; the Montreal Museum of Fine Arts; and the Saint Louis Art Museum, which owns the iconic November, Dezember, Januar paintings of 1989.
I like the Taipei Fine Arts Museum as a building, and I like the exhibitions they put on, but my god I feel like I'm fighting my way through Taipei Main Station trying to walk around in there. I expect in the typical art museum (or any museum!) there will be something of a slow meandering flow of patrons in one logical direction, contemplatively perusing the works and maintaining appropriate personal space. Today is the second time I've gone, and the second time I've left early in sheer frustration and overwhelm at the chaos. Since other museums I've been to in Taiwan are not like this, I have one theory and one theory only, which is the proximity to the Yuanshan complex: I think the average weekend patron arrives not out of a burning passion for painting and sculpture, but because they've wined, dined, and wandered their way through the fairground area, blundered into the museum by the sheer physics of 'an object in motion stays in motion' and continue to ricochet about like an uncultured pinball in their new and confusing enclosure...yes, that has to be it.
2011 Photo LA, 2011 USA
2010 The Photography Biennale, Skotia Gallery Santa Fe USA
1993 AOI Gallery Santa Fe USA
1993 Kirin contemporary award, Osaka & Yokohama Japan
1990 EXPO'90 Photo museum, Osaka Japan
1985 Taiwan international print biennale, Taipei fine arts museum R.O.C.
1983 Taiwan international print biennale, Taipei fine arts museum R.O.C.
Collections of
Kyoto national museum
ZEIT-FOTO SALON
Polaroid international
Polaroid Japan
Graduate School of Science, Osaka University
Japan Consulate-General, RIGA, Latvia
FUKE’s web page of Wix
http://p3ksi4.wix.com/fukep
Art Blog of FUKE
http://fuke.tumblr.com/
FUKE interviews
2015
From Taiwan English version
https://rinse.io/articles/AU7j0Gg7CoGENWkSiOGi
2014
From France
http://quidamlhebdo.fr/galerie-gajac-limpressionisme-japonaise/
2013
From Greece
http://www.ltcollector.com/project/fuke-takes-beauty-of-ordinary-every-day-scenes-to-a-new-level-read-the-story-of-this-amazing-artist-from-japan/
2013
From USA
http://fineart.about.com/od/Artists/a/Interview-With-Artist-FUKE-On-How-To-Establish-Your-Artist-Career.htm?utm_source=pinterest_ip&utm_medium=sm&utm_campaign=shareurlbuttons
2012
台北でグループ展 Howard salon Taipei Taiwan
ドイツでグループ展 Brisky galerie Stuttagrt Esslingen Germany curated by Mickey McCooper
ローマでグループイベント Rising Love Rome Italy curated by Francesca Pietracci
ローマでグループ展 La Notte 900 lab Rome Italy curated by Viviana Guadagno
パリでグループ展 Space Artintheflat Paris curated by Samuel Raharison
神戸市でグループ展 「風景の夢」 Landscape dreams Kobe curated by Hitoshi Yamazaki
2013
ラトビアのリガで個展 Art Gallery MAYDAY
高知市で個展 Graffiti
"How Corals Think" is an exhibition combining an essay and underwater recordings related to the project Penghu Experimental Sound Studio. The photo above was taken in 2023 during its last incarnation (Tokyo, Japan).
vimeo
This video retraces my first successful audio recordings in the coral reefs in Penghu archipelago and the sharing of ideas which came to my mind, related to readings in anthropology and biosemiotics.
The original mixed-media installation entitled "How Corals Think", was an invitation by curator Hsu Manray for the exhibition "The South", at Kaohsiung Museum of Fine Arts, Taiwan, in 2017, and which was soon shown in Prizren for the Kosovo Biennale 2017, at TheCube Space Project, in Taipei, for the exhibition "Ocean after Nature" curated by Alaina Claire Feldman and adapted into a sound piece for YNK/SAVVY radio program curated by Nicolas Perret and Silvia Ploner during Documenta #14. It was also part of the exhibition "Under the Surface, the Dreaming and Lingering Ones" with Wan-Shuen Tsai and Gaël Le Friec, at the Penghu Reclamation Hall, Makong in 2019. It was shown again in 2023 in Taichung at Galerie Pierre (exhibition "The Collaboration Ground" curated by Eric Chen) and in Za Koenji Theatre, Tokyo, Japan (exhibition "Do Corals Dream of Mountain").
Since then, I pursued the audio documentation and survey of the coral reefs in Penghu, witnessing the climate changes that let them to bleaching and dying in 2020-2023.
While the perspective of this project dramatically changed, the work is still in progress...
More information about Penghu Experimental Sound Studio can be found at www.kalerne.net