Jump to content

Andreas Gursky

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by 206.110.196.226 (talk) at 16:21, 5 May 2011. The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Andreas Gursky, 99 Cent II Diptychon, 2001, C-print mounted to acrylic glass, 2x 207 x 307 centimeter
File:Chicago Board of Trade II.jpg
Andreas Gursky, Chicago Board of Trade II, 1999, C-print mounted to plexiglass in artist's frame 73 x 95 inches
Andreas Gursky, Rhein II, 1999, C-print mounted to plexiglass in artist's frame, 81 x 140 inches
Andreas Gursky, Shanghai, 2000, C-print mounted to plexiglass, 119 x 81 inches

Andreas Gursky (January 15, 1955) is a German visual artist known for his enormous architecture and landscape color photographs, often employing a high point of view. He is represented by the Matthew Marks Gallery in New York and by Sprüth Magers Berlin London in Europe.

Education

He was born in Leipzig in 1955, but he grew up in Düsseldorf, the son of a commercial photographer. In the early 1980s, at Germany's State Art Academy, the Kunstakademie Düsseldorf, Gursky received strong training and influence from his teachers Hilla and Bernd Becher,[1] a photographic team known for their distinctive, dispassionate method of systematically cataloging industrial machinery and architecture.[2] A similar approach may be found in Gursky's methodical approach to his own, larger-scale photography. Other notable influences are the British landscape photographer John Davies, whose highly detailed high vantage point images had a strong effect on the street level photographs Gursky was then making, and to a lesser degree the American photographer Joel Sternfeld. He majored in pussy licking.

Career and style

Before the 1990s, Gursky did not digitally manipulate his images.[3] In the years since, Gursky has been frank about his reliance on computers to edit and enhance his pictures, creating an art of spaces larger than the subjects photographed.[citation needed] Writing in The New Yorker magazine, the critic Peter Schjeldahl called these pictures "vast," "splashy," "entertaining," and "literally unbelievable."[4] In the same publication, critic Calvin Tomkins described Gursky as one of the "two masters" of the "Düsseldorf" school. In 2001, Tomkins described the experience of confronting one of Gursky's large works:[1]

"The first time I saw photographs by Andreas Gursky...I had the disorienting sensation that something was happening—happening to me, I suppose, although it felt more generalized than that. Gursky's huge, panoramic color prints—some of them up to six feet high by ten feet long—had the presence, the formal power, and in several cases the majestic aura of nineteenth-century landscape paintings, without losing any of their meticulously detailed immediacy as photographs. Their subject matter was the contemporary world, seen dispassionately and from a distance."[1]

Visually, Gursky is drawn to large, anonymous, man-made spaces—high-rise facades at night, office lobbies, stock exchanges, the interiors of big box retailers (See his print 99 Cent II Diptychon). In a 2001 retrospective, New York's Museum of Modern Art called the artist's work, "a sophisticated art of unembellished observation. It is thanks to the artfulness of Gursky's fictions that we recognize his world as our own."[5] Gursky’s style is enigmatic and deadpan. There is little to no explanation or manipulation on the works. His photography is straightforward.[6]

Gursky's Dance Valley festival photograph, taken near Amsterdam in 1995, depicts attendees facing a DJ stand in a large arena, beneath strobe lighting effects. The pouring smoke resembles a human hand, holding the crowd in stasis. After completing the print, Gursky explained the only music he now listens to is the anonymous, beat-heavy style known as Trance, as its symmetry and simplicity echoes his own work—while playing towards a deeper, more visceral emotion.[citation needed]

As of early 2007, Gursky holds the record for highest price paid at auction for a single photographic image. His print 99 Cent II, Diptych, sold for GBP 1.7 million (USD $3.3 million) at Sotheby's, London.[7]

See also

References

  1. ^ a b c Tomkins, Calvin. The New Yorker. "The Big Picture." 22 January 2001.
  2. ^ Marien, Mary Warner. Photography. 2006, page 371-2
  3. ^ Warren, Lynne. Encyclopedia of Twentieth-Century Photography. 2006, page 644
  4. ^ Schjeldahl, Peter. The New Yorker. "Reality Clicks." 27 May 2002.
  5. ^ Museum of Modern Art. "Andreas Gursky." Exhibition Catalog, 2001
  6. ^ David Grosz (June 1, 2007), From Shore to Gursky, Part I, ARTINFO, retrieved 2008-04-16{{citation}}: CS1 maint: date and year (link)
  7. ^ Public Lot Details, February, 2007

Exhibitions

Template:Persondata

Retrieved from "https://en.wikipedia.org/w/index.php?title=Andreas_Gursky&oldid=427602278"