Divided Memory and Post-Traditional Identity?
This article is a bit hard going in parts. Here are some thoughts—-though Mia is our guru!
1. What are the influences on Richter’s work following the war? What does the author mean when he refers to the “larger process of personal anamnesis?”
2. Do you agree with Buchloh’s analysis of “Uncle Rudi?” Are these categories of art obsolete?
3. Do all portrait busts have the aura of the hero/leader or only those emanating from a totalitarian arena?
4. Does photography issue the death knell to the portrait?
5. In what ways does Richter’s Self-Portrait “re-position” the artist? How does he become the new historian, as it were?
6. Does the author’s contextualization of Richter’s 48 Portraits explain/justify his exclusions in that assembly? Calling Dr. Freud?
7. Discuss Richter’s “48 Portraits” in relation to Warhol’s “13 Most Wanted Men.”
8. Do you agree with Buchloh’s concluding statement, that the puppet-like, mechanical repetition of the figures ultimately dismantles the pantheon’s credibility?