grau – -Translation – Keybot Dictionary

thema: Momentaufnahmen eines Jahres: 2002 / Fleeting Moments / Neue Arbeiten junger Kunst in der Sammlung Deutsche Bank / Die Bedeutung der Kunst für das Unternehmen / Kunst macht reich! magazin: Beruf: Künstlerin / Die Farbe Grau aktuell: Wordsearch: Die Box zum diesjährigen "Moment" Projekt / Shipped Ships: Eine Fähre für den Amazonas ausstellungen: Sugimoto / Sugimotos Porträts in Singapur / Kara Walker im MuseumsQuartier in Wien presse: Presseschau zu "Gerhard Richter: Acht Grau" art at work: "Es geht nicht darum, ein gefälliges Programm zu zeigen."

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theme: Fleeting Moments of a Year: 2002 / Fleeting Moments / New Works of Young Art in the Collection of the Deutsche Bank / The Significance Art Has for a Company / Art Can Make You Rich! magazine: Profession: Woman Artist / The Color Grey current: Wordsearch: The Box on This Year’s “Moment” Project / Shipped Ships: A Ferry for the Amazon exhibitions: Sugimoto Portraits / Sugimoto’s Portraits in Singapore / Kara Walker at the Vienna MuseumsQuartier press: Selection of reviews on Gerhard Richter's Eight Grey art at work: "It’s not about showing a program that people like."

Es ist befremdlich, plötzlich einer der Figuren aus ihrer Malerei gegenüber zu stehen. Tatsächlich ist der gesamte Raum in dieses Grau von Markovas Gemälden getaucht, das gar kein Grau ist, sondern von den unterschiedlichsten Farbtönen durchsetzt ist: dunkle Blaus und Grüns, Magenta.

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She never would have expected her painting to win, she says, and for her it's a "compliment." Despite her modesty, Radoslava Markova seems determined to follow her path. The figures, she says, could soon disappear from her paintings, she might move entirely into abstraction, and she doesn't know what the results will be. Then her husband peeks in, cautiously, almost too politely. It feels strange to suddenly be standing opposite one of the figures from her paintings. All of a sudden, the entire room is bathed in this gray from Markova's paintings, which isn't a gray at all, but is interspersed with a variety of different colors: dark blues and greens, magenta. For a brief moment, it feels as though I were standing in one of her paintings, another figure in these indistinct spaces of light and color.

Von den einfarbigen Gemälden geht eine meditative Ruhe aus. Das gedämpfte Grau von Return 1 (1964-65) ist typisch für die Farbigkeit seiner frühen Arbeiten. Zunächst beschränkt sich Marden auf Schwarz, Grau oder matte Grüntöne.

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The monochrome paintings exude a meditative quietude. The subdued grey in Return 1 (1964-65) is typical for the color scheme of Marden’s early works. Initially, he limited himself to black, grey, and matte hues of green. He eliminated the visible brush stroke, smoothing the surfaces of his canvases with knives and spatulas and leaving scratches, cracks, and spots where the ground layer peeks through. A thin strip of blank canvas often remains along the bottom edge of the paintings, while traces of dripped paint refer to the painting process. In the beginning, the artist still used conventional oil paints, whose gloss he quickly began to alter. Since 1966, he’s mixed turpentine and hot bee’s wax into the paint, making the paint matter and less transparent and lending the works a very particular presence. Marden also began combining several identically sized canvases, such as in Point (1969), a subtle composition of three green-grey fields whose hues vary in nuances. The triptych quotes the altar form; instead of depicting a saint, however, it is dedicated to the variations of a single color.

In die Reihe dieser skulpturalen Werke gehört auch die ortsspezifische Auftragsarbeit Acht Grau, die Richter 2002 für das Deutsche Guggenheim realisiert hat acht Objekte im Grenzbereich zwischen Malerei, Skulptur und Architektur.

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Belonging to this series of sculptural works is the site-specific commissioned piece Eight Gray that Richter created in 2002 for the Deutsche Guggenheimeight objects on the boundary between painting, sculpture, and architecture. The gray reflective glass plates, sixteen feet high and almost ten feet wide, were mounted to the side walls of the exhibition hall and exerted an effect that was both monumental and quiet. In an interview Nicholas Serota, director of the Tate, conducted with the artist for the current show, Richter explained: "I have nothing against the word elegance being used to describe the paintingsat least the gray panels Ive made have a highly elegant side to them () theres that phrase, an elegant solution, which means that its simple and right, and easy. I like that very much."

Bei all seiner Einfachheit eröffnet Acht Grau doch ein weites Feld an Assoziationen. Die Arbeit bezieht sich auf eine zentrale Funktion, die Gemälden spätestens seit der Renaissance zugeschrieben wird sie sind ein Fenster in die Welt.

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Despite all its simplicity, Eight Gray opens up a wide field of associations. The work is based on a key function ascribed to paintings at least since the Renaissancethat of being a window to the world, or a mirror reflecting the world. In order to bring the world beyond the exhibition space into the work, Richter had the translucent glass in the windows facing the boulevard Unter den Linden replaced with transparent panes. And so his gray monoliths in the Deutsche Guggenheim not only reflected the person standing before the work, but always the outside as well. The minimalistic mirrored surfaces were a challengeon the one hand hermetically sealed, on the other open to interpretation. Viewers could see everything, or nothing. As early as 1966, Richter noted the following in his sketchbook: glass symbol(see everything / not understand).

Damals baute Kiecol Häuser-Skulpturen in jeder Form. Er stellte "Gebäude" her aus grau-grünem Beton, den er manchmal nachträglich noch bemalte. In gewisser Weise war diese Serie von Skulpturen außerordentlich nahe dran an der Wirklichkeit, denn in ihr deklinierte Kiecol alle möglichen Varianten des alltäglichen, real existierenden Bauens: Mietshäuser, Bürogebäude, gerade und schiefe Türme nebst Bunkern als Überbleibsel des Zweiten Weltkriegs, bloß alles en miniature.

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At the time, Kiecol built house sculptures in every size and shape. He created "buildings" from grey-green cement, which he sometimes painted over. In a certain sense, this series of sculptures was extraordinarily close to reality, because Kiecol used them to investigate every possible variation of everyday, extant construction: apartment buildings, office buildings, straight and tilted towers alongside bunkers left over from the Second World War, all of it in miniature. He used bricks and mortar for his larger sculptures as well as massive wooden beams and railroad ties. Later, materials such as glass and steel were added, which made his sculptures look almost like greenhouses.

An die spontane "Farbfleckmalerei" der Tachisten erinnern die expressiven, grell türkisen Formen auf Veit Hofmanns Siebdruck „Z' Urgottland“ – wie Andreas Weishaupts Guache eines demolierten Fahrrads – ein fast monochromes Stillleben in kühlem Blau-Grau – eine Spende der Bank.

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This mutual commitment to art continues. Since last year, the Kunstforum has had to manage without public funding; for this reason, it is increasingly dependent on private and institutional support. Hence, the idea was born to hold an auction to help establish the gallery long-term in the Altes Haus, a carefully restored latticework building from the year 1327. Deutsche Bank already supported the premiere auction with works from its collection, while this year it donated more than half of the auctioned works of art, including the large-scale color lithography Job by Walter Libuda, the Bernd Heisig student who represented Germany in 1990 at the Venice Biennial. On the other hand, the expressive, bright turquoise forms in Veit Hofmann’s silkscreen Z’Urgottland recall the spontaneous "color spot painting" of the Tachists – a bank donation, like Andreas Weishaupt’s gouache of a dilapidated bicycle, an almost monochrome still life in cool blue and grey tones.

Er zeigt eines der typischen dämmrigen Treppenhäuser oder die improvisierten Wohnungen von jungen Menschen, die zur radikalen Selbstverwirklichung in die eingemauerte "Frontstadt" geflohen waren. Die in schwarz, grau und weiß gehaltenen Arbeiten führen den Betrachter in die Welt der Künstlerboheme Westberlins während der Wendezeit.

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Behind turn-of-the-century Berlin facades are Marc Brandenburg's evocative pencil drawings. He portrays the typical murky stairwells and improvised apartments of young people who fled to the walled-in "frontline" city to pursue radical self-discovery. The works, reduced to shades of black, white, and grey, lead the viewer into the world of West Berlin bohemian artist life around the time of Reunification. It seems as though Brandenburg were seeking to capture impressions of the recent past on paper-as a visual diary whose entries add up to form a subjective view of the city in which he lives.

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"Eine bis an die Schmerzgrenze hochgefahrene Neutralität" macht Harald Fricke in der taz in Gerhard Richters acht grauen Monochromen aus. So stehe der Betrachter vor genau dem, was ist, und frage sich doch ständig, was es sein könnte, meint Fricke.

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“A neutrality carried to the point of pain,” Harald Fricke from the taz seems to sense in Gerhard Richter’s eight grey monochromes. The viewer stands in front of what is, and keeps asking himself what it could be, according to Fricke. “Scant decoration in the middle of an autocratic architecture? A mausoleum of painting? Or a trickily hung cabinet of monochrome surfaces which automatically mirror the visitor in their highly polished surfaces?” Even if the eight monumental panels effortlessly fit into the surrounding city ambience, Fricke detects a shade of subversion in the work made for the Deutsche Bank and the Deutsche Guggenheim: “In Richter’s work, grey has always been the color of resistance – a signal for incompatibility and irreconcilability with what he terms ‘Capitalist Realism.’”

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thema: Benjamin Buchloh im Interview / ACHT GRAU - Eine Einführung / Gerhard Richter in der Sammlung Deutsche Bank / Aufbau / Die Lunch Lectures im Deutsche Guggenheim / Richters Spiegelmetaphern im kunsthistorischen Kontext magazin: Elvira Bach im Gespräch / Die Dresdner Malerin Elfriede Lohse Wächtler aktuell: Kandidatin: Catherine Yass / Drawing Now: Neo Rauch ausstellungen: Il Ritorno dei Giganti / Lyonel Feininger: Strollers – The Passing Scene / Sugimoto - Imitation of Life presse: Presseschau zu "Gerhard Richter: Acht Grau" art at work: Vom "großen Bunten" zum "kleinen Schwarzen"

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theme: Interview with Benjamin Buchloh / Eight Grey - an introduction / Gerhard Richter in the Collection of the Deutsche Bank / Installation / The Lunch Lectures at Deutsche Guggenheim / Richter’s Mirror Metaphors in an Art Historical Context magazine: A Conversation with Elvira Bach / The Dresden woman painter Elfriede Lohse-Wächtler current: Candidate: Catherine Yass / Drawing Now: Neo Rauch exhibitions: Il Ritorno dei Giganti / Lyonel Feininger: Strollers – The Passing Scene / Sugimoto - Imitation of Life press: Press Excerpts on “Gerhard Richter: Acht Grau” art at work: From “Large and Colorful” to “Small and Black”

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aktuell: Artanfall / Gerhard Richters Edition zu ACHT GRAU ausstellungen: Chillida Tapies / Landschaften eines Jahrhunderts / Il Ritorno dei Giganti presse: Die Presse zur Ausstellung von Kara Walker art at work: Etagengespräch: Interview mit Peter Bömmels

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theme: Press release: The NYT to be published in Europe for the first time / Karin Sander´s project wordsearch / A conversation between Karin Sander and Hans Ulrich Obrist / The artist and her work / The Project as Magazine / What is "Moment"? / Globalization: A Dossier of Links magazine: Man in the Middle - "In Fantastic Company" / The Ironic Masquerades of Kara Walker current: artauction / Gerhard Richter’s series EIGHT GREY exhibitions: Chillida Tapies / A Century of Landscapes / Il Ritorno dei Giganti press: Reviews on the exhibition of Kara Walker's works art at work: Floor Conversation: Interview with Peter Bömmels

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thema: London Calling / Catherine Yass: Traumschichten / The Human Clay / Sechs Fotografen: Eine Ansicht aus London / Susan Derges: "Die ganze Nacht wäre meine Dunkelkammer....." magazin: Beruf: Künstlerin / El Regreso de los Gigantes / Und die Giganten überquerten den Atlantik / Der andere Blick / Giganten im Museo de Arte Contemporaneo in Monterrey aktuell: Dr. Tessen von Heydebreck / Nachruf: Michel Majerus ausstellungen: Il Ritorno dei Giganti / Gerhard Richter: ACHT GRAU presse: Presseschau zu "Gerhard Richter: Acht Grau" art at work: Sadie Coles im Interview

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theme: London Calling / Catherine Yass: Dream Shifts / The Human Clay / Six Photographers: A View from London / Susan Derges: "The whole night became my dark room ..." magazine: Profession: Woman Artist / El Regreso de los Gigantes / And the Giants Crossed the Atlantic / The Other View / Giants in the Museo de Arte Contemporaneo in Monterrey current: Dr. Tessen von Heydebreck / Obituary: Michel Majerus exhibitions: Il Ritorno dei Giganti / Gerhard Richter: Eight Grey press: Selection of reviews on Gerhard Richter's Eight Grey art at work: Sadie Coles: An Interview

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Show text Show cached source Open source URL	"Acht Grau": Anlässlich von Richters Arbeit in der Deutschen Guggenheim denken Marion Ackermann und Wolf Tegethoff über die Bedeutung der Farbe Grau nach.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Acht Grau: In light of Richters work Acht Grau (Eight Grey) in the Deutsche Guggenheim, Marion Ackermann and Wolf Tegethoff analyze the meaning of the color grey.

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Show text Show cached source Open source URL	"Acht Grau": Anlässlich von Richters Arbeit in der Deutschen Guggenheim denken Marion Ackermann und Wolf Tegethoff über die Bedeutung der Farbe Grau nach.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Acht Grau: In light of Richters work Acht Grau (Eight Grey) in the Deutsche Guggenheim, Marion Ackermann and Wolf Tegethoff analyze the meaning of the color grey.

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Show text Show cached source Open source URL	>> Gerhard Richters Edition zu ACHT GRAU
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	>> Gerhard Richter’s series "Eight Grey"

Show text Show cached source Open source URL	>> Gerhard Richters ACHT GRAU im K20
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	>> Gerhars Richter's "Eight Grey" in the K20 in Dusseldorf

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Show text Show cached source Open source URL	Acht Grau: Das Deutsche Guggenheim zeigt Gerhard Richters Arbeit, die eigens für die Kunsthalle Unter den Linden entstand. Das Thema beschäftigt Richter seit den sechziger Jahren.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Eight Grey: The Deutsche Guggenheim is showing Gerhard Richters work, which he specifically designed for the exhibition space on Unter den Linden. He has been involved with the theme since the 1960s.

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Show text Show cached source Open source URL	thema: Benjamin Buchloh im Interview / ACHT GRAU - Eine Einführung / Aufbau magazin: Kara Walker im Dialog mit Darius James / Wiedersehen in New York aktuell: Art Cologne / Katalog Kara Walker ausstellungen: Sugimoto - Imitation of Life / Man in the Middle presse: Die Presse zur Ausstellung von Kara Walker art at work: Treffen wir uns im Freud?
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	theme: Interview with Benjamin Buchloh / Eight Grey - an introduction / Installation magazine: A conversation between Darius James and Kara Walker / Reunion in New York current: Art Cologne / Catalogue Kara Walker exhibitions: Sugimoto - Imitation of Life / Man in the Middle press: Reviews on the exhibition of Kara Walker's works art at work: Shall we meet in the Freud?

Show text Show cached source Open source URL	Brüssel ist grau an diesem Wochenende, an dem auch die Kunstmesse stattfindet. Doch nicht die Messe ist mein Ziel. Ich treffe Beat Streuli, der hier in der belgischen Hauptstadt seit drei Jahren lebt.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Brussels is grey these days, on the weekend of the art fair. But the fair is not where I’m headed. I’m going to meet Beat Streuli, who has been living here in the Belgian capital for the past three years, alternating with his other home in Dusseldorf.

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Show text Show cached source Open source URL	"Der Meister spricht wieder nicht": Pressereaktionen auf Gerhard Richters ACHT GRAU
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	"Once again, the master won´t speak..." how German newspapers reacted to Gerhard Richters "EIGHT GREY"

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Show text Show cached source Open source URL	>> Presseschau zu "Gerhard Richter: Acht Grau"
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	>> Press Excerpts on “Gerhard Richter: Acht Grau”

Show text Show cached source Open source URL	"ACHT GRAU": Gerhard Richters Meisterwerk für das Deutsche Guggenheim ist Teil der aktuellen Schau im K20 in Düsseldorf
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	"Eight Grey" in Düsseldorf: Gerhard Richter's mirror masterpiece for the Deutsche Guggenheim can now be seen in a large retrospective at the K20

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Show text Show cached source Open source URL	Ab dem 11.Oktober zeigt das Deutsche Guggenheim Gerhard Richters neuen Zyklus ACHT GRAU in Berlin. Mehr als die Hälfte der Editionen zur kommenden Ausstellung sind bereits jetzt verkauft.
Compare text pages Compare HTM pages Open source URL Open target URL Define db-artmag.de as primary domain	Soon: the Deutsche Guggenheim will be showing Gerhard Richter's series ACHT GRAU (Eight Grey) in Berlin. More than half of the exhibition's edition has already been sold.

Seine auf Leinwand gedruckten Fotos wie Econ-O-Wash oder Looking East on 4th and C (1967) gehen auf Bilder zurück, die er im Vorbeifahren aus dem Auto geschossen hatte. Der Himmel ist verhangen, der Asphalt schimmert grau, Telefonmasten stechen als kahle Balken in einer Ödnis aus Straßen und Reihenhäusern hervor.

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In similar manner, in the sixties John Baldessari unmasked Pop’s promise to reveal the illusion behind it. His photographs printed on canvas such as Econ-O-Wash or Looking East on 4th and C from 1967 are based on images he shot driving by in a car. The sky is overcast, the pavement grey, telephone poles stick out like bare rods in a wasteland of streets and row houses. Baldessari wasn’t interested in employing a particularly "anti-artistic" staging to formulate a critique. Instead, it’s the real situation being examined here, one from which he saw no escape: "These places were always like this, long before I myself was born – nobody wanted to live in this neighborhood." Baldessari showed the ordinariness of an overly settled, socially dysfunctional environment; that was his early criticism of California’s suburban system, which was already booming back then.

Es ist bezeichnend, das der PR-Experte Saatchi mit The Revolution Continues: New Chinese Art gerade rechtzeitig zur Frieze sein neues Quartier in Chelsea eröffnete und so den jungen Chinesen gleich doppelte Aufmerksamkeit beschert. Zhang Xiaogangs grau getönte Familienbilder oder die Leinwände von Yue Minjun mit ihren breit grinsenden Gestalten gehören allerdings nicht gerade zu den innovativsten Positionen aus China.

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Other London institutions are also mounting exhibitions, which alone are already worth a weekend trip to the city. While the Whitechapel Gallery in the East End is presenting four films by upcoming American artist Ryan Trecartin, the Serpentine Gallery in Kensington Gardens is showing the new grid paintings by Gerhard Richter. The 49 paintings of 4900 Colours, developed especially for the Serpentine, explore painting's most intricate boundaries in kaleidoscopic color fields. The gallery's temporary pavilion is truly spectacular. It represents Frank Gehry's first project realized in England and the venue for "Park Nights", a series of concerts and talks. The Saatchi Gallery, of course, maybe London's best-known commercial exhibition space whose founder Charles Saatchi once had a considerable stake in the fame of the YBAs, is currently concentrating on propagating one of the youngest art scenes in the world. Its protagonists could soon become as well known as Damien Hirst and his colleagues. It's telling that the PR magician Saatchi has just opened his new space in Chelsea right in time for Frieze Week with The Revolution Continues: New Chinese Art, thus guaranteeing the young Chinese artists twice the amount of attention. Zhang Xiaogang's grey paintings of families and the canvases of Yue Minjun with their broadly grinning figures do not, however, count among China's most innovative art. A revolution looks altogether different, more like Sun Yuan and Peng Yu's bizarre wheelchair ballet, perhaps. Hyper-realistic, life-sized figures of old men who moved the world, including Castro, Brezhnev, and Arafat, steer their chairs like bumping cars, feebly ramming into each other in the process. But a visit to the show is more than worth it. Any exhibition would be an event in the elegant rooms of the freshly renovated former military villa of the Duke of York. Even if the hype surrounding Chinese art were to suddenly and unexpectedly cool down-and the competition isn't napping in the meantime - the British capital will not lose its power to attract the international scene all that soon. Because London definitely rules!