Gerhard Richter
[Artist, b. 1932, Dresden, lives in Düsseldorf.]

 To make a photograph is already the first artificial act. 
 The photograph is the only picture that can truly convey information, even if it is technically faulty and the object can barely be identified. A painting of a murder is of no interest whatever; but a photograph of a murder fascinates everyone. 
 Throwaway snapshots come closest to achieving the state of pure picture. 
 All photographs are far more important than any painting. 
 I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic thing that anyone could do. 
 What counts isn’t being able to do a thing, it’s seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level. 
 Every time we describe an event, add up a column of figures, or take a photograph of a tree, we create a model; without models we would know nothing about reality and would be like animals. 
 Photography altered ways of seeing and thinking. Photographs were regarded as true, paintings as artificial. The painted picture was no longer credible; its representation froze into immobility, because it was not authentic but invented. 
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