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in her essay 'painting spaces' that The experiments of the 1960s and the 1970s had moved art into a "post-medium condition" (Rosalind Krauss 1999 cite pg 32 ). In which traditional arts past categories have been diminished by new interdisciplinary overlaps, and the modernist discourse on the specificity of disciplines has been over taken by 'the new media' and their seemingly tireless potential for re adjustment, technology updating and the generation of new hybrids. Therefore painting is seen as restricted because of its simple and old fashioned materials with its thoughts being changed to the past because of its traditional origins it derives from. Pgs 123/124 CPC Paintings were now seen as dull and boring whereas the new media appeared more exciting, futuristic and popular. Peterson then states that:

It is widely agreed that the cul-de-sac of painting was caused by the modernist attempt to preserve the discipline from contamination by other kinds of art and culture and restricts its activities to what the formalists regarded as its primary task: to explore the formal aspects of painting, on the theory that all painting is basically about painting. Pgs 124 CPC

Through the arrival of new technology and bombardment of visual imagery this 'Cul-de-sac' or dead end of painting placed it in the background of the art world, with more artists using new media and technology to express their ideas and perspectives through art.. Reinhart's black paintings are therefore a great example of the modern painting's purism having reached an end. The following chapter will discuss Gerhard's questioning of painting through his personal art practice from the beginnings of the 1960s.

Chapter Three: Gerhard Richter's Questioning of Painting.

Gerhard Richter is a master technician and maker of painting having created both figurative and abstract artworks since the 1960s. During this time there was an upheaval in art criticism where painting was considered to have developed as far as it could go; therefore it was no longer the dominant art practice in society. Many artists were using new materials and methods to explore their ideas and perspectives of the world like performance art, body art, installation, video and conceptual but Richter chose to continue using paint. In his notes 1962 Richter sums up brilliantly where his passion for painting and creating art derives:

The first impulse towards painting, or towards art in general, stems from the need to communicate, the effort to fix one’s own vision, to deal with appearances (Which are alien and must be given names and meanings) without this, all work would be pointless and unjustified, like 'Art for Art Sake.' [7]

In this statement Richter is rejecting the modernist notion of 'Art for Art sake' he believes that work with no meaning or purpose is pointless. Richter's practice communicates his perspective of the world around him through his expression and questioning of painting. Richter's work can be described as not fitting with any one genre moving between abstract and figurative or combing the two, one paintings form is a response to another.

Richter believed that as soon as something turned into本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。