Ruoyu Qi

In the contemporary context of digital media, Gerhard Richter’s overpainted photographs challenge conventional understandings of photography and painting by exploring their relationship to reality and meaning. This paper delves into Richter’s artistic approach, where the fusion of paint and photographic imagery creates an ambiguous space that questions the certainty of photographic reality. By analyzing the materiality of painting, the abstraction of photography, and their interplay, this study reveals how Richter subverts traditional notions of representation, encouraging viewers to rethink the essence of art and reality. His work underscores the limitations of both media in conveying truth and meaning, offering profound reflections on perception and the digital age’s complex visual culture.

Gerhard Richter; overpainted photographs; photography and painting reality; meaning; digital media; abstraction

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