As an Interior: Reimagining Gerhard Richter’s Atlas

Deluchi, C

As an Interior: Reimagining Gerhard Richter’s Atlas

Deluchi, C

Permalink

Publisher:: IDEA Journal
Publication Type:: Journal Article
Citation:: IDEA Journal, 2021, 18, (1), pp. 205-222
Issue Date:: 2021-08-31

Closed Access

	Filename	Description	Size
	Deluchi.pdf	Published version	1.74 MB	Adobe PDF	View/Open
	IMPORTANT NOTE_Deluchi.docx		37.3 kB	Unknown	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Deluchi, C https://orcid.org/0000-0003-2413-3927
dc.date.accessioned	2021-11-10T00:49:59Z
dc.date.available	2021-11-10T00:49:59Z
dc.date.issued	2021-08-31
dc.identifier.citation	IDEA Journal, 2021, 18, (1), pp. 205-222
dc.identifier.issn	1445-5412
dc.identifier.uri	http://hdl.handle.net/10453/151467
dc.description.abstract	Gerhard Richter’s Atlas is a compilation of images arranged across 783 multi-image panels. Since its initial exhibition in 1972, it has been continuously expanded, amended and reorganised based on the volume of panels shown in each stage of its iteration. The serialisation of Atlas’s photographic register, its orthogonal schedule of panels (or sheets) grouped into blocks, is a by-product of its social, cultural and material conditions. It is built from ‘walls of images’ shaped by the architecture of a given room.[i] Yet, Atlas is inherently an interior. Whilst Benjamin H. D. Buchloh’s reading of Atlas as a didactic model of display and/or mnemonic device, and Giuliana Bruno’s account of its emotive and/or filmic quality, are ways to navigate the work itself, this paper instead reconstructs its space of representation to critically reflect on the narrative sequences built in space. This paper reimagines Richter’s Atlas as an interior–a room of images where Atlas makes the architecture. Rather than extending observations on Atlas as a retrospective of Richter’s artistic practice, the paper acts as a retrospective of its room(s). Moving beyond collecting, ordering and exhibiting images, this examination of Atlas detects the bond between surfaces, openings, sheets and subjects. Using ordinary orthographic methods, Atlas is inverted and drawn to trace the production and organisation of its framework for encounter and meaning. This depiction of space offers a way to see how Atlas constructs it. Lastly, the paper argues that this discursive practice, and the systematic form of Atlas itself, can bring about alternative ways of perceiving the work’s chronological, conceptual, and spatial, pathways. [i] Ed. Friedel, H. 2016. Gerhard Richter: Atlas. Distributed Art Publisher, New York.
dc.language	en
dc.publisher	IDEA Journal
dc.relation.ispartof	IDEA Journal
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject	1201 Architecture, 1203 Design Practice and Management
dc.title	As an Interior: Reimagining Gerhard Richter’s Atlas
dc.type	Journal Article
utslib.citation.volume	18
utslib.for	1201 Architecture
utslib.for	1203 Design Practice and Management
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2021-11-10T00:49:56Z
pubs.issue	1
pubs.publication-status	Published online
pubs.volume	18
utslib.citation.issue	1

Abstract:

Gerhard Richter’s Atlas is a compilation of images arranged across 783 multi-image panels. Since its initial exhibition in 1972, it has been continuously expanded, amended and reorganised based on the volume of panels shown in each stage of its iteration. The serialisation of Atlas’s photographic register, its orthogonal schedule of panels (or sheets) grouped into blocks, is a by-product of its social, cultural and material conditions. It is built from ‘walls of images’ shaped by the architecture of a given room.[i] Yet, Atlas is inherently an interior. Whilst Benjamin H. D. Buchloh’s reading of Atlas as a didactic model of display and/or mnemonic device, and Giuliana Bruno’s account of its emotive and/or filmic quality, are ways to navigate the work itself, this paper instead reconstructs its space of representation to critically reflect on the narrative sequences built in space. This paper reimagines Richter’s Atlas as an interior–a room of images where Atlas makes the architecture. Rather than extending observations on Atlas as a retrospective of Richter’s artistic practice, the paper acts as a retrospective of its room(s). Moving beyond collecting, ordering and exhibiting images, this examination of Atlas detects the bond between surfaces, openings, sheets and subjects. Using ordinary orthographic methods, Atlas is inverted and drawn to trace the production and organisation of its framework for encounter and meaning. This depiction of space offers a way to see how Atlas constructs it. Lastly, the paper argues that this discursive practice, and the systematic form of Atlas itself, can bring about alternative ways of perceiving the work’s chronological, conceptual, and spatial, pathways. [i] Ed. Friedel, H. 2016. Gerhard Richter: Atlas. Distributed Art Publisher, New York.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/151467