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Global customer Lending – Will U.S.-based monetary organizations be ready?

Global customer Lending – Will U.S.-based monetary organizations be ready?

International Economy: Trade keeps growing globally in today’s range of customer lending. There are lots of good reasons for this growth, perhaps not the least that is technology. Due to improved communication opportunities today, worldwide trade is more useful. Now as part of your, customers and businesses have access to the best services and products from a variety of nations. Expanding technology has also increased your competitors among countries concerning who can create the most recent or best technology. To build up the accommodations of the brand new trade, countries in the last several decades took increasing actions to advertise worldwide trade.

Foreign change transactions have become progressively normal with the ease of computerized internet based lending. Will the foreign loan providers continue to attract the interest of this US purchasers? We now have currently seen an increase in international transactions with the purchase of on line products, and air/travel reservations.

Just who protects the consumer whom accesses the international financing options? The globalized trade marketplace is at this time governed because of the Federal Trade Commission (FTC). The FTC focus should protect the consumer from harm, while improving the commercial advantage therefore the chosen the buyer.

Global financing features opened crime-based activity to an international environment, allowing traditional theft to emerge on a whole new degree. Will this kind of fraud and theft inside worldwide marketplace replace the rules of intercontinental lending? There may be an opportunity the FTC measures in and changes the way in which we’re lending and financing financial loans or acquisitions. Are you willing to comply?

With consumer security rules continuously increasing, exactly how will this affect the international lending regulations? Will the U.S. come to be transformative towards method of our intercontinental loan providers? Apparently the U.S. consumer financing regulations are sophisticated, while allowing the flexibleness and simplicity of use to finance a consumer loan… so long as the rules tend to be used.

It may be that future of your financing rehearse is within the hands of prevailing financial system (that could not be the U.S.) hence all nations take place into exact same constant financing practices. Will your credit union prepare yourself to adhere to a mandatory international customer lending standard?

listed here is where the good news comes in. Your credit union’s lending operations might be suffering from the continuous international monetary industry changes, and today your types stay certified with present credit union regulations, especially if provided by Oak Tree. Be confident that oak-tree is continuously “trend seeing” and you will be during the forefront of any changes towards kinds triggered by any resource, including worldwide styles .

Contact us to discover how to be equipped for any change, may it be local or international. Oak-tree Business Systems, Inc. is often ready to provde the many appropriate credit union business information.

To read comparable articles be sure to check out oak-tree Business Systems, Inc. August 2016 Advantage – The Lending Olympics.

Videos introduction by Jeff Smith, the trainer, to customer Lending, a class presented by CFT (the guts for Financial education)
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Consumer Financial Coverage Bureau Actually Harming Customer Providing

Consumer Financial Coverage Bureau Actually Harming Customer Providing

Former BB&T CEO John Allison on a potential rollback of monetary laws as well as its affect lender financing. Stuart Varney.
Fox Business: Varney & Co. w/ Stuart Varney
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Affirm CEO Max Levchin: Creating Clarity In Consumer Lending| Mad Cash | CNBC
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Financial Matters: Consumer Lending

Financial Matters: Consumer Lending

Ever since the Great Economic crisis, lots of people have found it challenging to obtain money for home loans, automobiles and credit cards as economic organizations tightened their financing criteria. Nonetheless, things have boosted in the last couple of years and Craig Zuidema, Vice President of Consumer Financing at BayPort Cooperative credit union offered us some insight into what lending institutions try to find.
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Bank of The united states – restore the Economy 4-28-09 (26)
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Image by seiuhealthcare775nw
Photo Credit: Neil Parekh / SEIU Healthcare 775NW

Seattle Taxpayers Demonstrate at Bank of America included in Continued Nationwide activities to restore the economic climate

“Taxpayer Proxy” Action Needs Bank Fire CEO Ken Lewis,

Commit to Intense Banking Reform, Voice for Workers

Seattle (April 28, 2009) – Taxpayers, working families and SEIU members joined collectively in Seattle today plus than 100 other metropolitan areas across the nation right now to take action outside Bank of America branches and gather and deliver “Taxpayer Proxies” demanding the bank fire CEO Ken Lewis and commit to monetary reform that puts customers and employees ahead of earnings.

The taxpayer activities took place in the eve of Bank of America’s yearly shareholder meeting in Charlotte, NC. After accepting billion in bailout resources, taxpayers as well as the federal government would be the largest investors of Bank of America, and taxpayers in Seattle tend to be demanding that their voices be heard.

On April 29th a delegation of neighborhood and nationwide frontrunners will provide the “Taxpayer Proxy” demands into the Bank of America shareholder conference contacting it to: fire CEO Ken Lewis; assistance strong financial reform; eradicate predatory financing practices and unreasonable fees; offer the worker complimentary preference Act to ensure employees have a voice to speak completely for consumers and improve working conditions; and offer inexpensive medical to bank employees so they really are not obligated to count on tax-payer funded general public health programs.

“Taxpayers didn’t cause this financial crisis—but we pretty sure tend to be paying the purchase price," stated SanJerra Collins, a caregiver from Tacoma and person in SEIU Healthcare 775NW. “For years, banking institutions have built a small business model around pushing dangerous items and burying clients much more and more financial obligation. It’s time for financial institutions to end these predatory practices and create a method that is about assisting men and women, maybe not exploiting people.”

Over the past couple of years, Bank of America CEO Ken Lewis has received .8 million in settlement, although the median wage for a teller at Bank of America hovers across the national poverty range for a family group of four.

Despite receiving billion in federal taxpayer bailout funds since last fall, Bank of America features launched plans to lay off 30,000 to 35,000 employees and passed out .2 million in business incentives. Bank of America may have used the amount of money they paid out in incentives to offer every one of its bank tellers approximately 1,000 raise—nearly seven times their median income.

The financial institution additionally continues to make taxpayers get the loss for approximately million a year in staff member healthcare costs because many Bank of America employees cannot pay the business’s health insurance and must rely on community health care programs. This expenses Washington state taxpayers 9,000 annually.

A year ago, Bank of The united states accumulated .3 billion in bank fees, nearly 30 percent greater than either of the two biggest competitors. As well as after using bailout money Bank of America goes on working up charge card rates of interest on customers even when they’ve made every repayment punctually. The bank arbitrarily hiked interest levels on one million play-by-the-rules, pay-on-time consumers in 2007 alone.

In 2008, Bank of The united states invested more than million on lobbying and opposed bills such as the Employee totally free Selection Act, the Credit Cardholders Bill of Rights plus the Foreclosure protection Act which will straight benefit the economy and consumers.

For more information, please go to


SEIU Locals in Washington State

SEIU town 6 – representing 3,500 janitors and safety protections

SEIU regional 49 – representing 1,200 health care workers in SW Washington

SEIU Healthcare 775NW – representing 35,000 long-term care employees

SEIU 925 – representing 23,000 education and child care employees

SEIU medical 1199NW – representing 22,000 nurses and medical workers

SEIU regional 1948 – representing 27,000 college staff members

Image from web page 485 of “Canadian grocer January-March 1918” (1918)
consumer lending
Image by Internet Archive Book Images
Identifier: cangrocerjanmar1918toro
Title: Canadian grocer January-March 1918
12 Months: 1918 (1910s)
Topics: Supermarkets Grocery trade Food industry and trade
Publisher: Toronto : Maclean-Hunter Pub. Co. [1887]-
Contributing Collection: Fisher – University of Toronto
Digitizing Sponsor: University of Toronto

View Book Webpage: Book audience
Relating to this Book: Catalog Entry
See All Images: All Pictures From Book

Follow this link to view book on the web to see this illustration in framework in a browseable online type of this guide.

Text Appearing Before Image:
[■xmaoodcicia Q This voucher will H □ connect the ■| Checkerboard Calf Club £ Si With journey nhipit. nf incrpaaincr tVio Aliioe «— ■ D ■D■ ■ ■ y ■ D ■P ■ y D ■GHDHnHDHDHDBDanaEnDBn with all the item of increasing the Alliesmeat supplies this club offers valu-able prizes to girls and boys in ruralcommunities to get the best calf fed on Purina Calf Chow the fantastic calf-raising food.Our company is telling the general public concerning the clubthrough forceful consumer advertisingand good grocers everywhere are cash-ing in from the increasing need forPurina. You are able to do the same. Sign,clip and post this couponnow. Lively attempting to sell andgood earnings willresult S y S y THE CHISHOLMMILLING CO. LimitedTORONTO y y xy ^ y y .-vc y ** & & JF ^>6 4* ■& sN D■ ■ ■D■ ■D■ ■D■□■D 18 CANADIAN GROCER February 38, 1918.

Text Appearing After Image:
OXFORD cLlIE Show Keens within displays—keepit where in actuality the homemaker will dsicover it. She knows Keens and simply needs tobe reminded you are selling it. Magor, Son and organization, restricted 191 St. Paul St. western, MONTREAL 30 Church Street, TORONTO AGENTS WHEN IT COMES TO DOMINION OF CANADA Keens Oxford Blue is definitely aseller and every sale provides you with agood margin. Keep well stocked. CATCH LENT SALTED LAKE HERRING Headless and Dressed60 fish to a pail, .85 30 seafood to a pail, .10 BILL FISH Headless and Dressed, 20 lb pails, .40 EXCLUSIVELY SET UP IN FAMILY SIZENO SPEND NO HANDLING additionally full distinct Frozen, Salted and Smoked Sea and Lake Fish J. BOWMAN & CO. WHOLESALE 66 JARVIS ST. TORONTO, ONT. Canadian Grocer Vol. XXXII. TORONTO, FEBRUARY 22, 1918 number 8 Consumers Assn. inside Limelight A Merchandizing Activity That Has Attracted Considerable Notice Receives SomeAttention from Government—Some Discussion as to the types of Operation of This Concern Toronto, Feb. 20. (Unique)—Th

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Biggest ship to ask JAXPORT finds TraPac Jacksonville
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Image by JAXPORT
JACKSONVILLE, Fla. (Jan. 6, 2015) – These days JAXPORT’s TraPac Container Terminal at Dames aim welcomed the biggest vessel to ever before ask Jacksonville’s seaport. The 8,100 TEU (bins) MOL Competence journeyed from Southeast Asia through the Suez Canal and called on various other U.S. East Coast ports before coming to TraPac.

The Competence is more than 1,000 foot long and also at a breadth of 150 foot, it’s too big to match through the present Panama Canal locks. TraPac Jacksonville vice-president and General Manager Dennis Kelly claims the Competence as well as other post-Panamax sized vessels askin Jacksonville within a frequent rotation through Suez Canal illustrate the port’s strategic advantages of accommodating the more expensive ships contacting the U.S. East Coast.

“when you yourself have an interface, such JAXPORT, this is certainly situated therefore near to plenty consumers, distribution facilities and retailers, the past mile is more affordable and easier, also.” Kelly stated. “It lends it self to a more appropriate, efficient and dependable supply sequence.”

Awesome Customer Providing photos

Awesome Customer Providing photos

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Day 2; Monet not money.
consumer lending
Image by hipponotized
So begins the journey. Today was yet another day of routine. Nothing exciting. As you can see I got a haircut. (no it shrunk in the wash xD)

Something popped out at me today. In Human Geo class we’re studying development in countries and economic models. The subject makes me kind of queamish. I’m the sort of person that would rather live in a hut grow my own food and paint in my spare time. Yet all these people are concerned with becoming rich. There’s a part in all of us that wants to really prosper economically. I’ve seen actual slums and felt poverty around me so I know that development thing is essential but the fact that everything is based on becoming mass consumers, producing things cheaply. How human can that be and what am I contributing to this mess? I would like to say I don’t have anything to do with this but my nike sneakers would tell my lie. In our search for a better life are we only becoming less?

Abstraktes Bild (Nº 635) (1987) – Gerhard Richter (1932)
consumer lending
Image by pedrosimoes7
Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal

Materials : Oil on canvas



Gerhard Richter (German: [ˈʀɪçtɐ]; born 9 February 1932) is a German visual artist and one of the pioneers of the New European Painting that emerged in the second half of the twentieth century. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. His art follows the examples of Picasso and Jean Arp in undermining the concept of the artist’s obligation to maintain a single cohesive style.

In October 2012, Richter’s Abstraktes Bild set an auction record price for a painting by a living artist at million (£21 million).This was exceeded in May 2013 when his 1968 piece Domplatz, Mailand (Cathedral square, Milan) was sold for .1 million (£24.4 million) in New York.

This was further exceeded in February 2015 when his painting Abstraktes Bild sold for .52 million (£30.4 million) in London at Sotheby’s Contemporary Evening Sale.


Richter was born in Hospital Dresden-Neustadt in Dresden, Saxony, and grew up in Reichenau, Lower Silesia (now Bogatynia, Poland), and in Waltersdorf (Zittauer Gebirge), in the Upper Lusatian countryside, where his father worked as a village teacher.

Gerhard’s mother, Hildegard Schönfelder, at the age of 25 gave birth to Gerhard. Hildegard’s father, Ernst Alfred Schönfelder, at one time was considered a gifted pianist. Ernst moved the family to Dresden after taking up the family enterprise of brewing and eventually went bankrupt. Once in Dresden, Hildegard trained as a bookseller, and in doing so realized a passion for literature and music. Gerhard’s father, Horst Richter, was a mathematics and physics student at the Technische Hochschule in Dresden. The two were married in 1931.

After struggling to maintain a position in the new Nationalist Socialist education system, Horst found a position in Reichenau. In Reichenau, Gerhard’s younger sister, Gisela was born in November 1936.

Horst and Hildegard were able to remain primarily apolitical due to Reichenau’s location in the countryside.

Horst, being a teacher, was eventually forced to join the National Socialist Party. He never became an avid supporter of Nazism, and was not required to attend party rallies. In 1942, Gerhard was conscripted into the Deutsches Jungvolk, but by the end of the war he was still too young to be an official member of the Hitler Youth.

In 1943 Hildegard moved the family to Waltersdorf, and was later forced to sell her piano. He left school after 10th grade and apprenticed as an advertising and stage-set painter, before studying at the Dresden Academy of Fine Arts. In 1948, he finished higher professional school in Zittau, and, between 1949 and 1951, successively worked as an apprentice with a sign painter and as a painter.
In 1950, his application for study at the Dresden Academy of Fine Arts was rejected as "too bourgeois". He finally began his studies at the Dresden Academy of Fine Arts in 1951. His teachers were Karl von Appen, Heinz Lohmar (de) and Will Grohmann.


In 1983, Richter resettled from Düsseldorf to Cologne, where he still lives and works today. In 1996, he moved into a studio designed by architect Thiess Marwede.

Richter married Marianne Eufinger in 1957; she gave birth to his first daughter.

He married his second wife, the sculptor Isa Genzken, in 1982. Richter had a son and daughter with his third wife, Sabine Moritz after they were married in 1995.


In the early days of his career, he prepared a wall painting (Communion with Picasso, 1955) for the refectory of his Academy of Arts as part of his B.A. Another mural entitled Lebensfreude (Joy of life) followed at the German Hygiene Museum for his diploma. It was intended to produce an effect "similar to that of wallpaper or tapestry".
Both paintings were painted over for ideological reasons after Richter escaped from East to West Germany two months before the building of the Berlin Wall in 1961. After German reunification two "windows" of the wall painting Joy of life (1956) were uncovered in the stairway of the German Hygiene Museum, but these were later covered over when it was decided to restore the Museum to its original 1930 state.

From 1957 to 1961 Richter worked as a master trainee in the academy and took commissions for the then state of East Germany. During this time, he worked intensively on murals like Arbeiterkampf (Workers’ struggle), on oil paintings (e.g. portraits of the East German actress Angelica Domröse and of Richter’s first wife Ema), on various self-portraits and on a panorama of Dresden with the neutral name Stadtbild (Townscape, 1956).

When he escaped to West Germany, Richter began to study at the Kunstakademie Düsseldorf under Karl Otto Götz. With Sigmar Polke and Konrad Fischer (de) (pseudonym Lueg) he introduced the term Kapitalistischer Realismus (Capitalistic Realism) as an anti-style of art, appropriating the pictorial shorthand of advertising. This title also referred to the realist style of art known as Socialist Realism, then the official art doctrine of the Soviet Union, but it also commented upon the consumer-driven art doctrine of western capitalism.

Richter taught at the Hochschule für bildende Künste Hamburg and the Nova Scotia College of Art and Design as a visiting professor; he returned to the Kunstakademie Düsseldorf in 1971, where he was a professor for over 15 years.


Nearly all of Richter’s work demonstrates both illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Richter, reality is the combination of new attempts to understand—to represent; in his case, to paint—the world surrounding us. Richter’s opinions and perspectives on his own art, and that of the larger art market and various artistic movements, are compiled in a chronological record of "Writings" and interviews. The following quotes are excerpts from the compilation:

"I am a Surrealist."[16]
"My sole concern is the object. Otherwise I would not take so much trouble over my choice of subjects; otherwise I would not paint at all."[17]
"My concern is never art, but always what art can be used for."[18]
Photo-paintings and the "blur"[edit]

Richter’s 1988 painting Betty (depicting his daughter) at Neue Nationalgalerie, Berlin in 2012
Richter created various painting pictures from black-and-white photographs during the 1960s and early 1970s, basing them on a variety of sources: newspapers and books, sometimes incorporating their captions, (as in Helga Matura (1966)); private snapshots; aerial views of towns and mountains, (Cityscape Madrid (1968) and Alps (1968)); seascapes (1969–70); and a large multi-partite work made for the German Pavilion in the 1972 Venice Biennale. For Forty-eight Portraits (1971–2), he chose mainly the faces of composers such as Gustav Mahler and Jean Sibelius, and of writers such as H. G. Wells and Franz Kafka.[19]

From his "Writings", the following refer to quotations regarding photography, its relationship with painting, and the "blur":

"The photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style. Both in its ways of informing, and in what it informs of, it is my source."[20]
"I don’t create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures. When I dissolve demarcations and create transition, this is not in order to destroy the representation, or to make it more artistic or less precise. The flowing transitions, the smooth equalizing surface, clarify the content and make the representation credible (an "alla prima" impasto would be too reminiscent of painting, and would destroy the illusion)."[21]
"I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information."[22]
Many of these paintings are made in a multi-step process of representations. He starts with a photograph, which he has found or taken himself, and projects it onto his canvas, where he traces it for exact form. Taking his color palette from the photograph, he paints to replicate the look of the original picture. His hallmark "blur" is achieved sometimes with a light touch of a soft brush, sometimes a hard smear by an aggressive pull with a squeegee.

From around 1964, Richter made a number of portraits of dealers, collectors, artists and others connected with his immediate professional circle. Richter’s two portraits of Betty, his daughter, were made in 1977 and 1988 respectively; the three portraits titled IG were made in 1993 and depict the artist’s second wife, Isa Genzken. Lesende (1994) portrays Sabine Moritz, whom Richter married in 1995, shown absorbed in the pages of a magazine.[23] Many of his realist paintings reflect on the history of National Socialism, creating paintings of family members who had been members, as well as victims of, the Nazi party.[24] From 1966, as well as those given to him by others, Richter began using photographs he had taken as the basis for portraits.[23] In 1975, on the occasion of a show in Düsseldorf, Gilbert & George commissioned Richter to make a portrait of them.[25]

Richter began making prints in 1965. He was most active before 1974, only completing sporadic projects since that time. In the period 1965–74, Richter made most of his prints (more than 100), of the same or similar subjects in his paintings.[26] He has explored a variety of photographic printmaking processes – screenprint, photolithography, and collotype – in search of inexpensive mediums that would lend a "non-art" appearance to his work.[27] He stopped working in print media in 1974, and began painting from photographs he took himself.[26]

While elements of landscape painting appeared initially in Richter’s work early on in his career in 1963, the artist began his independent series of landscapes in 1968 after his first vacation, an excursion that landed him besotted with the terrain of Corsica.[28] Landscapes have since emerged as an independent work group in his oeuvre.[29] According to Dietmar Elger, Richter’s landscapes are understood within the context of traditional of German Romantic Painting. They are compared to the work of Caspar David Friedrich (1774–1840). Friedrich is foundational to German landscape painting. Each artist spent formative years of their lives in Dresden.[30] Große Teyde-Landschaft (1971) takes its imagery from similar holiday snapshots of the volcanic regions of Tenerife.[31]

Atlas was first exhibited in 1972 at the Museum voor Hedendaagse Kunst in Utrecht under the title Atlas der Fotos und Skizzen, it included 315 parts. The work has continued to expand, and was exhibited later in full form at the Lenbachhaus in Munich in 1989, the Museum Ludwig in Cologne in 1990, and at Dia Art Foundation in New York in 1995. Atlas continues as an ongoing, encyclopedic work composed of approximately 4,000 photographs, reproductions or cut-out details of photographs and illustrations, grouped together on approximately 600 separate panels.[32]

In 1972 Richter embarked on a ten-day trip to Greenland, his friend Hanne Darboven was meant to accompany him, but instead he traveled alone. His intention was to experience and record the desolate arctic landscape. In 1976, four large paintings, each titled Seascape emerged from the Greenland photographs.[33]

Two of Richter’s 1983 memento mori paintings – Kerze and Schädel – on display at Neue Nationalgalerie, Berlin in 2012
In 1982 and 1983, Richter made a series of paintings of Candles and Skulls that relate to a longstanding tradition of still life memento mori painting. Each composition is most commonly based on a photograph taken by Richter in his own studio. Influenced by old master vanitas painters such as Georges de La Tour and Francisco de Zurbarán, the artist began to experiment with arrangements of candles and skulls placed in varying degrees of natural light, sitting atop otherwise barren tables. The Candle paintings coincided with his first large-scale abstract paintings, and represent the complete antithesis to those vast, colorful and playfully meaningless works. Richter has made only 27 of these still lifes.[34] In 1995, the artist marked the 50th anniversary of the allied bombings of his hometown Dresden during the Second World War. His solitary candle was reproduced on a monumental scale and placed overlooking the River Elbe as a symbol of rejuvenation.[35]

In a 1988 series of 15 ambiguous photo paintings entitled 18 October 1977, he depicted four members of the Red Army Faction (RAF), a German left-wing terrorist organization. These paintings were created from black-and-white newspaper and police photos. Three RAF members were found dead in their prison cells on 18 October 1977 and the cause of their deaths was the focus of widespread controversy.[36] In the late 1980s, Richter had begun to collect images of the group which he used as the basis for the 15 paintings exhibited for the first time in Krefeld in 1989. The paintings were based on an official portrait of Ulrike Meinhof during her years as a radical journalist; on photographs of the arrest of Holger Meins; on police shots of Gudrun Ensslin in prison; on Andreas Baader’s bookshelves and the record player to conceal his gun; on the dead figures of Meinhof, Ensslin, and Baader; and on the funeral of Ensslin, Baader, and Jan-Carl Raspe.

Since 1989, Richter has worked on creating new images by dragging wet paint over photographs. The photographs, not all taken by Richter himself, are mostly snapshots of daily life: family vacations, pictures of friends, mountains, buildings and streetscapes.

Richter was flying to New York on September 11, 2001, but due to the 9/11 attacks, including on the World Trade Center, his plane was diverted to Halifax, Nova Scotia. A few years later, he made one small painting specifically about the planes crashing into the World Trade Center.[37] In September: A History Painting by Gerhard Richter, Robert Storr situates Richter’s 2005 painting September within a brand of anti-ideological thought that he finds throughout Richter’s work, he considers how the ubiquitous photographic documentation of the 11 September attacks affects the uniqueness of one’s distinct remembrance of the events, and he offers a valuable comparison to Richter’s 18 October 1977 cycle.[38]

In the 2000s, Richter made a number of works that dealt with scientific phenomena. In 2003, he produced several paintings with the same title: Silicate. Large oil-on-canvas pieces, these show latticed rows of light- and dark-grey blobs whose shapes quasi-repeat as they race across the frame, their angle modulating from painting to painting. They depict a photo, published in the Frankfurter Allgemeine Zeitung, of a computer-generated simulacrum of reflections from the silicon dioxide found in insects’ shells.


Coming full-circle from his early Table (1962) in which he cancelled his photorealist image with haptic swirls of grey paint,[ in 1969, Richter produced the first of a group of grey monochromes that consist exclusively of the textures resulting from different methods of paint application.

In 1976, Richter first gave the title Abstract Painting to one of his works. By presenting a painting without even a few words to name and explain it, he felt he was "letting a thing come, rather than creating it." In his abstract pictures, Richter builds up cumulative layers of non-representational painting, beginning with brushing big swaths of primary color onto canvas. The paintings evolve in stages, based on his responses to the picture’s progress: the incidental details and patterns that emerge. Throughout his process, Richter uses the same techniques he uses in his representational paintings, blurring and scraping to veil and expose prior layers.

From the mid-1980s, Richter began to use a homemade squeegee to rub and scrape the paint that he had applied in large bands across his canvases.

In an interview with Benjamin H.D. Buchloch in 1986, Richter was asked about his "Monochrome Grey Pictures and Abstract Pictures" and their connection with the artists Yves Klein and Ellsworth Kelly. The following are Richter’s answers:

The Grey Pictures were done at a time when there were monochrome paintings everywhere. I painted them nonetheless. … Not Kelly, but Bob Ryman, Brice Marden, Alan Charlton, Yves Klein and many others.

In the 1990s the artist began to run his squeegee up and down the canvas in an ordered fashion to produce vertical columns that take on the look of a wall of planks.

Richter’s abstract work and its illusion of space developed out of his incidental process: an accumulation of spontaneous, reactive gestures of adding, moving, and subtracting paint. Despite unnatural palettes, spaceless sheets of color, and obvious trails of the artist’s tools, the abstract pictures often act like windows through which we see the landscape outside. As in his representational paintings, there is an equalization of illusion and paint. In those paintings, he reduces worldly images to mere incidents of Art. Similarly, in his abstract pictures, Richter exalts spontaneous, intuitive mark-making to a level of spatial logic and believability.

Firenze continues a cycle of 99 works conceived in the autumn of 1999 and executed in the same year and thereafter. The series of overpainted photographs, or übermalte Photographien, consists of small paintings bearing images of the city of Florence, created by the artist as a tribute to the music of Steve Reich and the work of Contempoartensemble, a Florence-based group of musicians.

After 2000, Richter made a number of works that dealt with scientific phenomena, in particular, with aspects of reality that cannot be seen by the naked eye.

In 2006, Richter conceived six paintings as a coherent group under the title Cage, named after the American avant-garde composer John Cage.In May 2002, Richter photographed 216 details of his abstract painting no. 648-2, from 1987. Working on a long table over a period of several weeks, Richter combined these 10 x 15 cm details with 165 texts on the Iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on 20 and 21 March. This work was published in 2004 as a book entitled War Cut.

In November 2008, Richter began a series in which he applied ink droplets to wet paper, using alcohol and lacquer to extend and retard the ink’s natural tendency to bloom and creep. The resulting November sheets are regarded as a significant departure from his previous watercolours in that the pervasive soaking of ink into wet paper produced double-sided works. Sometimes the uppermost sheets bled into others, generating a sequentially developing series of images. In a few cases Richter applied lacquer to one side of the sheet, or drew pencil lines across the patches of colour.


As early as 1966, Richter had made paintings based on colour charts, using the rectangles of colour as found objects in an apparently limitless variety of hue; these culminated in 1973–4 in a series of large-format pictures such as 256 Colours.

Richter painted three series of Color Chart paintings between 1966 and 1974, each series growing more ambitious in their attempt to create through their purely arbitrary arrangement of colors.

The artist began his investigations into the complex permutations of color charts in 1966, with a small painting entitled 10 Colors. The charts provided anonymous and impersonal source material, a way for Richter to disassociate color from any traditional, descriptive, symbolic or expressive end. When he began to make these paintings, Richter had his friend Blinky Palermo randomly call out colors, which Richter then adopted for his work. Chance thus plays its role in the creation of his first series.

Returning to color charts in the 1970s, Richter changed his focus from the readymade to the conceptual system, developing mathematical procedures for mixing colours and chance operations for their placement.[53] The range of the colors he employed was determined by a mathematical system for mixing the primary colors in graduated amounts. Each color was then randomly ordered to create the resultant composition and form of the painting. Richter’s second series of Color Charts was begun in 1971 and consisted of only five paintings. In the final series of Color Charts which preoccupied Richter throughout 1973 and 1974, additional elements to this permutational system of color production were added in the form of mixes of a light grey, a dark gray and later, a green.

Richter’s 4900 Colours from 2007 consisted of bright monochrome squares that have been randomly arranged in a grid pattern to create stunning fields of kaleidoscopic color. It was produced at the same time he developed his design for the south transept window of Cologne Cathedral. 4900 Colours consists of 196 panels in 25 colors that can be reassembled in 11 variations – from a single expansive surface to multiple small-format fields. Richter developed Version II – 49 paintings, each of which measures 97 by 97 centimeters – especially for the Serpentine Gallery.


Richter began to use glass in his work in 1967, when he made Four Panes of Glass. These plain sheets of glass could tilt away from the poles on whicht they were mounted at an angle that changed from one installation to the next. In 1970, he and Blinky Palermo jointly submitted designs for the sports facilities for the 1972 Olympic Games in Munich. For the front of the arena, they proposed an array of glass windows in twenty-seven different colors; each color would appear fifty times, with the distribution determined randomly. In 1981, for a two-person show with Georg Baselitz in Düsseldorf, Richter produced the first of the monumental transparent mirrors that appear intermittently thereafter in his oeuvre; the mirrors are significantly larger than Richter’s paintings and feature adjustable steel mounts. For pieces such as Mirror Painting (Grey, 735-2) (1991), the mirrors were coloured grey by the pigment attached to the back of the glass. Arranged in two rooms, Richter presented an ensemble of paintings and colored mirrors in a special pavilion designed in collaboration with architect Paul Robbrecht at Documenta 9 in Kassel in 1992.

In 2002, for the Dia Art Foundation, Richter created a glass sculpture in which seven parallel panes of glass refract light and the world beyond, offering altered visions of the exhibition space; Spiegel I (Mirror I) and Spiegel II (Mirror II), a two-part mirror piece from 1989 that measures 7′ tall and 18′ feet long, which alters the boundaries of the environment and again changes one’s visual experience of the gallery; and Kugel (Sphere), 1992, a stainless steel sphere that acts as a mirror, reflecting the space. Since 2002, the artist has created a series of three dimensional glass constructions, such as 6 Standing Glass Panels (2002/2011).[59]


In 2010, the Drawing Center showed Lines which do not exist, a survey of Richter’s drawings from 1966 to 2005, including works made using mechanical intervention such as attaching a pencil to an electric hand drill. It was the first career overview of Richter in the United States since 40 Years of Painting at the Museum of Modern Art in 2002.

In a review of Lines which do not exist, R. H. Lossin writes in The Brooklyn Rail: "Viewed as a personal (and possibly professional) deficiency, Richter’s drawing practice consisted of diligently documenting something that didn’t work—namely a hand that couldn’t draw properly. …Richter displaces the concept of the artist’s hand with hard evidence of his own, wobbly, failed, and very material appendage."


Throughout his career, Richter has mostly declined lucrative licensing deals and private commissions.Measuring 9 by 9 ½ feet and depicting both the Milan Duomo and the square’s 19th-century Galleria Vittorio Emanuele II, Domplatz, Mailand [Cathedral Square, Milan] (1968) was a commission from Siemens, and it hung in that company’s offices in Milan from 1968 to 1998. (In 1998, Sotheby’s sold it in London, where it fetched what was then a record price for Richter, .6 million).

In 1980, Richter and Isa Genzken were commissioned to design the König-Heinrich-Platz underground station in Duisburg; it was only completed in 1992. In 1986, Richter received a commission for two large-scale paintings – Victoria I and Victoria II – from the Victoria insurance company in Düsseldorf.[64] In 1990, along with Sol LeWitt and Oswald Mathias Ungers, he created works for the Bayerische Hypotheken- und Wechselbank in Düsseldorf. In 1998, he installed a wall piece based on the colours of Germany’s flag in the rebuilt Reichstag in Berlin.


In 2002, the same year as his MoMA retrospective, Richter was asked to design a stained glass window in the Cologne Cathedral In August 2007, his window was unveiled. It is an 113 square metres (1,220 sq ft) abstract collage of 11,500 pixel-like squares in 72 colors, randomly arranged by computer (with some symmetry), reminiscent of his 1974 painting "4096 colours". Although the artist waived any fee, the costs of materials and mounting the window came to around €370,000 (6,000). However the costs were covered by donations from more than 1,000 people.

Cardinal Joachim Meisner did not attend the window’s unveiling; he had preferred a figurative representation of 20th century Christian martyrs and said that Richter’s window would fit better in a mosque or other prayer house.

A professed atheist with "a strong leaning towards Catholicism", Richter’s three children with his third wife were baptized in the Cologne Cathedral.


Richter first began exhibiting in Düsseldorf in 1963. Richter had his first gallery solo show in 1964 at Galerie Schmela in Düsseldorf. Soon after, he had exhibitions in Munich and Berlin and by the early 1970s exhibited frequently throughout Europe and the United States. In 1966, Bruno Bischofberger was the first to show Richter’s works outside Germany. Richter’s first retrospective took place at the Kunsthalle Bremen in 1976 and covered works from 1962 to 1974. A traveling retrospective at Düsseldorf’s Kunsthalle in 1986 was followed in 1991 by a retrospective at the Tate Gallery, London. In 1993 he received a major touring retrospective "Gerhard Richter: Malerei 1962–1993" curated by Kasper König, with a three volume catalogue edited by Benjamin Buchloch. This exhibition containing 130 works carried out over the course of thirty years, was to entirely reinvent Richter’s career.

Richter became known to a U.S. audience in 1990, when the Saint Louis Art Museum circulated Baader-Meinhof (October 18, 1977), a show that that was later seen at the Lannan Foundation in Marina del Rey, California.

Richter’s first North American retrospective was in 1998 at the Art Gallery of Ontario and at the Museum of Contemporary Art, Chicago. In 2002, a 40-year retrospective of Richter’s work was held at the Museum of Modern Art, New York, and traveled to The Art Institute of Chicago, the San Francisco Museum of Modern Art, and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. He has participated in several international art shows, including the Venice Biennale (1972, 1980, 1984, 1997 and 2007), as well as Documenta V (1972), VII (1982), VIII (1987), IX (1992), and X (1997). In 2006, an exhibition at the Getty Center connected the landscapes of Richter to the Romantic pictures of Caspar David Friedrich, showing that both artists "used abstraction, expansiveness, and emptiness to express transcendent emotion through painting."

The Gerhard Richter Archive was established in cooperation with the artist in 2005 as an institute of the Staatliche Kunstsammlungen Dresden.


Gerhard Richter 4900 Colours: Version II at the Serpentine Gallery, London, United Kingdom. 2008[73]
Gerhard Richter Portraits at the National Portrait Gallery, London, United Kingdom. 2009[23]
Gerhard Richter: Panorama at the Tate Modern, London, United Kingdom. 2011[74]
Gerhard Richter at the Centre Pompidou, Paris, France. 2012[75]
Gerhard Richter: Panorama at the Neue Nationalgalerie, Berlin, Germany. 2012[76]


Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the most important artists of the 20th century.

Today, many call Gerhard Richter the best living painter. In part, this comes from his ability to explore the medium at a time when many were heralding its death. Richter has been the recipient of numerous distinguished awards, including the State Prize of the state North Rhine-Westphalia in 2000; the Wexner Prize, 1998; the Praemium Imperiale, Japan, 1997; the Golden Lion of the 47th Biennale, Venice, 1997; the Wolf Prize in Israel in 1994/5; the Kaiserring Prize der Stadt Goslar, Mönchehaus-Museum für Moderne Kunst, Goslar, Germany, 1988; the Oskar Kokoschka Prize, Vienna, 1985; the Arnold Bode Prize, Kassel, 1981; and the Junger Western Art Prize, Germany, 1961. He was made an honorary citizen of Cologne in April 2007.

Among the students who studied with Richter at the Kunstakademie Düsseldorf between 1971 and 1994 were Ludger Gerdes, Hans-Jörg Holubitschka, Bernard Lokai, Thomas Schütte, Thomas Struth, Katrin Kneffel, Michael van Ofen, and Richter’s second wife, Isa Genzken. He is known to have influenced Ellsworth Kelly, Christopher Wool, Allan Banford and Johan Andersson (artist).

He also served as source of inspiration for writers and musicians. Sonic Youth used a painting of his for the cover art for their album Daydream Nation in 1988. He was a fan of the band and did not charge for the use of his image.

The original, over 7 metres (23 ft) square, is now showcased in Sonic Youth’s studio in NYC.

Don DeLillo’s short story "Baader-Meinhof" describes an encounter between two strangers at the Museum of Modern Art in New York. The meeting takes place in the room displaying 18 October 1977 (1988).

Photographer Cotton Coulson described Richter as "one of [his] favourite artists".


Following an exhibition with Blinky Palermo at Galerie Heiner Friedrich in 1971, Richter’s formal arrangement with the dealer came to an end in 1972. Thereafter Friedrich was only entitled to sell the paintings that he had already obtained contractually from Richter.

In the following years, Richter showed with Galerie Konrad Fischer, Düsseldorf, and Sperone Westwater, New York. Today Richter is represented by Marian Goodman, his primary dealer since 1985.

Today, museums own roughly 38% of Richter’s works, including half of his large abstract paintings.By 2004, Richter’s annual turnover was 0m (£65m). At the same time, his works often appear at auction. According to artnet, an online firm that tracks the art market, .9m worth of Richter’s work was sold at auction in 2010.

Richter’s high turnover volume reflects his prolificacy as well as his popularity. As of 2012, no fewer than 545 distinct Richter’s works had sold at auctions for more than 0,000. 15 of them had sold for more than ,000,000 between 2007 and 2012.

Richter’s paintings have been flowing steadily out of Germany since the mid-1990s even as certain important German collectors – Frieder Burda, Josef Fröhlich, Georg Böckmann, and Ulrich Ströher – have held on to theirs.

Richter’s candle paintings were the first to command high auction prices. Three months after his MoMA exhibition opened in 2001, Sotheby’s sold his Three Candles (1982) for .3 million. In February 2008, the artist’s eldest daughter, Betty, sold her Kerze (1983) for £7,972,500 ( million), triple the high estimate, at Sotheby’s in London.

His 1982 Kerze (Candle) sold for £10.5 million (.5 million) at Christie’s London in October 2011.[83]

In February 2008, Christie’s London set a first record for Richter’s "capitalist realism" pictures from the 1960s by selling the painting Zwei Liebespaare (1966) for £7,300,500 (.3 million)[84] to Stephan Schmidheiny. In 2010, the Weserburg modern art museum in Bremen, Germany, decided to sell Richter’s 1966 painting Matrosen (Sailors) in a November auction held by Sotheby’s, where John D. Arnold bought it for million. Vierwaldstätter See, the largest of a distinct series of four views of Lake Lucerne painted by Richter in 1969, sold for £15.8 million ( million) at Christie’s London in 2015.

Another coveted group of works is the ABSTRAKTE BILDER SERIES, particularly those made after 1988, which are finished with a large squeegee rather than a brush or roller. At Pierre Bergé & Associés in July 2009, Richter’s 1979 oil painting Abstraktes Bild exceeded its estimate, selling for €95,000 (6,000). Richter’s Abstraktes Bild, of 1990 was made the top price of 7.2 million pounds, or about .6 million, at a Sotheby’s sale in February 2011 to a bidder who was said by dealers to be an agent for the New York dealer Larry Gagosian. In November 2011, Sotheby’s sold a group of colorful abstract canvases by Richter, including Abstraktes Bild 849-3, which made a record price for the artist at auction when Lily Safra paid .8 million only to donate it to the Israel Museum afterwards. Months later, a record .8 million was paid at Christie’s for the 1993 painting Abstraktes Bild 798-3.

Abstraktes Bild (809-4), one of the artist’s abstract canvases from 1994, was sold by Eric Clapton at Sotheby’s to a telephone bidder for .2 million in late 2012. (It had been estimated to bring .1 million to .8 million.)


Gerhard Richter’s Betty, 4:58 on YouTube, Smarthistory
In 2007, Corinna Belz made a short film called Gerhard Richter’s Window where the media-shy artist appeared on camera for the first time in 15 years. In 2011, Corinna Belz’s feature-length documentary entitled Gerhard Richter Painting was released. The film focused almost entirely on the world’s highest paid living artist producing his large-scale abstract squeegee works in his studio.


"One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy."

"Perhaps because I’m sorry for the photograph, because it has such a miserable existence even though it is such a perfect picture, I would like to make it valid, make it visible – just make it (even if what I make is worse than the photograph). And this making is something that I can’t grasp, or figure out and plan. That is why I keep on and on painting from photographs, because I can’t make it out, because the only thing to do with photographs is paint from them. Because it attracts me to be so much at the mercy of a thing, to be so far from mastering it."

"No one painting is meant to be more beautiful than, or even different from any other. Nor is it meant to be like any other, but the same: the same, though each was painted individually and by itself, not all together and all of a piece, like Multiples. I intended them to look the same but not be the same, and I intended this to be visible."

"Painting has nothing to do with thinking, because in painting thinking is painting. Thinking is language – record-keeping – and has to take place before and after. Einstein did not think when he was calculating: he calculated – producing the next equation in reaction to the one that went before – just as in painting one form is a response to another, and so on."

"It makes no sense to expect or claim to ‘make the invisible visible’, or the unknown known, or the unthinkable thinkable. We can draw conclusions about the invisible; we can postulate its existence with relative certainty. But we all can represent is an analogy, which stands for the invisible but is not it."

"The best thing that could have happened to art was its divorce from government."[99]

"Everything made since Duchamp has been a readymade, even when hand-painted."[100]

At a Q&A ahead of his retrospective at the Tate Modern on 4 October 2011, he was asked: "Has the role of artist changed over the years?" Richter replied: "It’s more entertainment now. We entertain people."

TEDxGreenville 2013-01 Salon
consumer lending
Image by TEDxGreenville
Passion, Risk and Reward
Monday, January 21, 2013

We hear so much about following our passions; but what about the risks? And are there rewards? Join us at the Iron Yard for some great TEDX Greenville talks with local entrepreneurs, and mix and mingle afterward with some of the most creative people in town!

The Iron Yard is a launch-pad for entrepreneurs and creative people. Providing innovation, education, co-working, mentorship, capital, and events for the technology and design communities, Greenville is proud to have this great launch-pad in our community!

The Participants
Co-Curator: Peter Barth,
The Iron Yard

Peter went to Vanderbilt University, where he studied computer engineering. After school he did what all engineers do: moved to Manhattan to become an options and securities principal at Duke & Company (and later Morgan Stanley). Minting deals and moving stock was fun, but a few years on Wall Street reminded Pete he was a hacker at heart. He packed up his computer and family and headed to Indianapolis to develop software for SinglePoint, an enterprise payroll service. With hard work and technical expertise, he worked his way up to CTO and purchased a stake in the business. In 2006, Peter moved his family again, but this time to sunny South Carolina. In Greenville, Peter has taken leadership roles in the development of NEXT, the NEXT Innovation Center, InternGreenville, and the Southeast’s premier startup accelerator, The Iron Yard.

Presenter: Jon McClure,
Entrepreneur, Leader, Founder and President of ISO Poly Films

Born with entrepreneurism in his blood, Jon McClure established his first business at age 12 and sold another business while in college. With ,200 in his pocket and a ,000 line of credit, he took his business savvy and expertise in the plastics films industry and founded ISO Poly Films. The company extruded its first pound of film in Gray Court, SC in 1998 and, next year, expects to produce 130 million pounds of film for various applications including food packaging, consumer electronics, medical devices, pharmaceuticals and industrial products. Under Jon’s leadership, the company has completed three major expansions and recently opened a second plant in Vancouver, Washington. In its early years, ISO Poly Films was named to Entrepreneur Magazine’s "Hot 100" Small Business list by Dun & Bradstreet, and Jon was named Carolinas Entrepreneur of the Year by Ernst & Young. Today, ISO Poly Films has 110 employees and expects to generate 0 million in sales.

Presenter: Chancy Lindsey-Peake, Owner and Founder of Banana Manna, LLC

Chancey, owner and founder of Banana Manna, began baking out of necessity in her home with 6 borrowed pans. She didn’t set out to start a business, but to survive. Chancey went to different local markets to sell her bread, but word spread quickly and she started baking for different festivals, where she saw the potential to make Banana Manna a full-time business. Soon after, she was introduced to Nasha Lending and became their first entrepreneur. Since then, she has moved into the Downtown Greenville Farmers Market, opened a retail space, and baking bread has become a full-time job. Ask Chancey what she is most proud of and she responds: "I am most proud of the variety of flavors that I bake; after people try all my samples, they still can’t decide.

Insights: The Future of Consumer Lending: Big Need Means Big Opportunity

Insights: The Future of Consumer Lending: Big Need Means Big Opportunity

< iframe size="425" elevation="355" src="" frameborder="0" allowfullscreen > A considerable market sector is becoming a result of the financial crisis. Inning accordance with a recent survey conducted by the Deloitte Center for Financial Services, 22 percent of Americans with savings account experienced a significant negative credit scores scenario throughout the last 2 years, and also 11 percent were first-time defaulters– customers that had never ever fallen under delinquency prior to.
The most up to date episode of Deloitte Insights features a discussion amongst mediator Sean O’Grady, Andrew Freeman, executive director, Deloitte Center of Financial Services, and Deron Weston, principal, Deloitte Consulting LLP. Tune in to find out more about the study and the possibility this new consumer section represents for banks that can assist them with their debt needs.