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The Germanic brushstroke. The fanned and smeared. Brandt's earlier paintings joining Richter's always distinct two practices, abstraction and fan-brush, lead to mutual horror, revealing the lapse Richter himself couldn't even. It's grotesque birthed from distinct characters never meant to breed has since given way to this exhibitions more normalized German-Austro-coldness, using style and deftness of brushwork as quotational and life-sucking means for its happy little waves and mountains, but no happy little trees unfortunately.
See too : Thomas Eggerer at Richard Telles
