In this essay, I will explore the idea that Gerhard Richter’s work is consistent with what I refer to here as transcendence without a transcendent by Martin Heidegger. Furthermore, I will try to demonstrate how his use of painting is response to Heidegger’s criticism of Ge-stell and the technological era. In order to pursue these objectives, I will start with a detailed analysis of Richter’s work from the sixties to the present day.
|Number of pages||15|
|Journal||Sztuka i Filozofia|
|Publication status||Published - 2010|