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Andreas Gursky

Andreas Gursky, Amazon, 2016 Inkjet print, 81 ½ × 160 ¼ × 2 7/16 inches, framed (207 × 407 × 6.2 cm)© Andreas Gursky/Artist Rights Society (ARS), New York/VG Bild-Kunst, Bonn

Andreas Gursky, Amazon, 2016

Inkjet print, 81 ½ × 160 ¼ × 2 7/16 inches, framed (207 × 407 × 6.2 cm)
© Andreas Gursky/Artist Rights Society (ARS), New York/VG Bild-Kunst, Bonn

Andreas Gursky, Bangkok II, 2011 Inkjet print, 120 ⅞ × 93 ⅜ × 2 ½ inches framed (307 × 237 × 6.4 cm), edition 5/6© Andreas Gursky/SIAE, Italy

Andreas Gursky, Bangkok II, 2011

Inkjet print, 120 ⅞ × 93 ⅜ × 2 ½ inches framed (307 × 237 × 6.4 cm), edition 5/6
© Andreas Gursky/SIAE, Italy

Andreas Gursky, Bangkok VI, 2011 Inkjet print, 120 ⅞ × 89 ⅜ × 2 ⅜ inches framed (307 × 227 × 6.2 cm), edition of 6© Andreas Gursky / VG Bild-Kunst, Bonn 2011

Andreas Gursky, Bangkok VI, 2011

Inkjet print, 120 ⅞ × 89 ⅜ × 2 ⅜ inches framed (307 × 227 × 6.2 cm), edition of 6
© Andreas Gursky / VG Bild-Kunst, Bonn 2011

Andreas Gursky, Ocean IV, 2010 Inkjet print, 134 ¼ × 98 ¼ × 2 ½ inches framed (341 × 249.6 × 6.4 cm), edition of 6© Andreas Gursky / VG Bild-Kunst, Bonn 2017

Andreas Gursky, Ocean IV, 2010

Inkjet print, 134 ¼ × 98 ¼ × 2 ½ inches framed (341 × 249.6 × 6.4 cm), edition of 6
© Andreas Gursky / VG Bild-Kunst, Bonn 2017

Andreas Gursky, Untitled XVI, 2008 Chromogenic print, 93 5/16 × 199 3/16 inches framed (237 × 506 cm), edition of 6© Andreas Gursky / VG Bild-Kunst, Bonn 2010

Andreas Gursky, Untitled XVI, 2008

Chromogenic print, 93 5/16 × 199 3/16 inches framed (237 × 506 cm), edition of 6
© Andreas Gursky / VG Bild-Kunst, Bonn 2010

About

You never notice arbitrary details in my work. On a formal level, countless interrelated micro and macrostructures are woven together, determined by an overall organizational principle.
Andreas Gursky

From images of nature to photographs of cities, crowds, and commercial products, Andreas Gursky invents new worlds from existing elements, constructing tableaux based on his methodical observations. In his large-format, high-definition photographs, he presents hyperfocused scenes that privilege neither foreground nor background.

Gursky studied visual communication at the Folkwang Universität der Künste in Essen, Germany, from 1977 to 1980. He then continued his studies at the Kunstakademie Düsseldorf, where he was a master-class student of Bernd and Hilla Becher, the artist duo known for their series of photographs of selected types of industrial structures, or “typologies.” While the Bechers used a standardized, documentary style to underscore the commonality inherent in variation, Gursky’s studies propelled him to expand the idea of the photographic document by using digital manipulation and montage to record specific scenes, moments, and events. His works from the early 1990s depict factories, stock exchanges, airports, golf courses, highways, and buildings, often from aerial viewpoints that reveal the patterns of crowds and infrastructure. In 1996 he moved away from this perspective in favor of deadpan frontal views, as in the Prada series (1996–98), depicting the minimalist altars of luxury fashion, or, as in Prada II (1997), showing the empty shelves lit with fluorescent lights.

In the early 2000s Gursky began arranging his photographic montages according to classical patterns of representation. The Pyongyang photographs (2007), in particular—which show colorful, kaleidoscopic crowds of performers in North Korea—recall compositional methods used during the Renaissance. Gursky followed this series with photographs of more informal crowds, such as those at Cocoon, a famous German nightclub designed by his friend DJ Sven Väth. The club, with its perforated metallic walls, resembles a futuristic hive, and Gursky used its cavernous scale to produce hypnotic scenes that envelop the viewer in their repeated patterns.

In addition to his work focusing on social phenomena, entertainment, and urban planning, Gursky is interested in capturing the realities of the planet, often narrowing in on bodies of water, from the Rhine in Germany to the Chao Phraya in Thailand. The Bangkok series (2011) depicts the flickering, often littered, surface of this fast-flowing river at close range. For the Ocean works (2010), Gursky sourced high-definition satellite photography to generate his own interpretations of sea and land, constructing scenes of oceanic expanses with coastlines visible at the images’ outermost edges. From environmental threats to growing crowds and infrastructural development, Gursky’s photographs capture the extremes of the present moment.

Andreas Gursky

Photo: Joerg Koch/DDP/Getty Images

Takashi Murakami cover and Andreas Gursky cover for Gagosian Quarterly, Summer 2022 magazine

Now available
Gagosian Quarterly Summer 2022

The Summer 2022 issue of Gagosian Quarterly is now available, with two different covers—featuring Takashi Murakami’s 108 Bonnō MURAKAMI.FLOWERS (2022) and Andreas Gursky’s V & R II (2022).

Andreas Gursky, Salinas, 2021, Diasec-mounted inkjet print, framed: 80 × 160 ⅜ × 2 ½ inches (203.2 × 407.2 × 6.2 cm)

Andreas Gursky

On the occasion of an exhibition at Gagosian, New York, Max Dax met with Andreas Gursky to speak with the photographer about his new work. Here, they discuss the consequences of the pandemic on certain works, the roles of techno music and art history in Gursky’s art process, and the necessary balance of beauty and honesty in the contemporary.

Andreas Gursky, Jonathan Ive, 2019, fine art print mounted on dibond, 64 1/2 × 50 ⅝ inches (163.7 × 128.5 cm). National Portrait Gallery, London, commissioned; made possible by the Outset Commission, supported by Scott Collins in partnership with Outset Contemporary Art Fund, 2019 © Andreas Gursky/VG BILD-KUNST, Bonn

Ive by Gursky: A Meeting of Minds

By exploring the conventions of past portraits of industrial designers and architects, Maria Morris Hambourg unpacks Andreas Gursky’s ingenious recent portrait of Apple designer Jony Ive to reveal its layered meanings.

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.

Anselm Kiefer, Volkszählung (Census), 1991, steel, lead, glass, peas, and photographs, 163 ⅜ × 224 ½ × 315 inches (4.1 × 5.7 × 8 m)/

Cast of Characters

James Lawrence explores how contemporary artists have grappled with the subject of the library.

Anselm Kiefer, Maginot, 1977–93.

Veil and Vault

An exhibition at the Broad in Los Angeles prompts James Lawrence to examine how artists give shape and meaning to the passage of time, and how the passage of time shapes our evolving accounts of art.

Unreal Americans

Unreal Americans

Benjamin Nugent reflects on questions of verisimilitude and American life in the group exhibition I Don’t Like Fiction, I Like History at Gagosian, Beverly Hills.

Andreas Gursky and Jeff Wall

In Conversation
Andreas Gursky and Jeff Wall

On the occasion of a major survey of Andreas Gursky’s work at the Hayward Gallery in London, Gursky and Jeff Wall discuss the state of photography and the evolution of the medium.

Gagosian Quarterly Summer 2018

Gagosian Quarterly Summer 2018

The Summer 2018 Gagosian Quarterly issue is now available, featuring El Ejido, one of Andreas Gursky’s latest artworks, on its cover.

Andreas Gursky

In Conversation
Andreas Gursky

Andreas Gursky and Richie Hawtin discuss their collaboration with art historian Laura Käding.

Andreas Gursky Parrish Art Museum

Andreas Gursky Parrish Art Museum

Terrie Sultan, Director of the Parrish Art Museum, discusses Andreas Gursky: Landscapes (2015)

Fairs, Events & Announcements

Gagosian’s booth at Art Basel Miami Beach 2021. Artwork, left to right: © Albert Oehlen; © Judd Foundation/Artists Rights Society (ARS), New York; © Mary Weatherford. Photo: Sebastiano Pellion di Persano

Art Fair

Art Basel Miami Beach 2021

December 2–4, 2021, booth D5
Miami Beach Convention Center
artbasel.com

Gagosian is pleased to announce its participation in Art Basel Miami Beach 2021 with a presentation of modern and contemporary works. A selection of these works will also appear on gagosian.com and on Art Basel’s Online Viewing Room.

To receive a pdf with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com.

Gagosian’s booth at Art Basel Miami Beach 2021. Artwork, left to right: © Albert Oehlen; © Judd Foundation/Artists Rights Society (ARS), New York; © Mary Weatherford. Photo: Sebastiano Pellion di Persano

Theaster Gates, American Tapestry, 2019 © Theaster Gates

Art Fair

Art Basel OVR: Pioneers
Innovate, Originate, Overturn: Modern and Contemporary Pioneers

March 24–27, 2021

One of a hundred selected galleries, Gagosian is pleased to present Innovate, Originate, Overturn: Modern and Contemporary Pioneers, an exclusive online project for Art Basel’s launch of OVR: Pioneers. The presentation will include works by Helen FrankenthalerTheaster GatesAndreas GurskyDamien HirstJeff KoonsNam June Paik, and Rachel Whiteread.

Theaster Gates, American Tapestry, 2019 © Theaster Gates

Ed Ruscha, The Future, 1999 © Ed Ruscha. Photo: Jeff McLane

Exhibition

The Future

November 30, 2020–January 31, 2021
gagosian-deitch.com

Gagosian is pleased to announce The Future, the sixth in a series of annual thematic exhibitions presented by Gagosian and Jeffrey Deitch during Art Basel Miami Beach. Previously staged at the historic Moore Building in the Miami Design District, this year the collaborative project will be hosted on a new stand-alone website.

Ed Ruscha, The Future, 1999 © Ed Ruscha. Photo: Jeff McLane

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Museum Exhibitions

Installation view, Motion. Autos, Art, Architecture, Guggenheim Bilbao, Spain, April 8–September 18, 2022. Artwork © Ed Ruscha. Photo: courtesy Guggenheim Museum Bilbao

On View

Motion
Autos, Art, Architecture

Through September 18, 2022
Guggenheim Bilbao, Spain
www.guggenheim-bilbao.eus

Motion. Autos, Art, Architecture celebrates the artistic dimension of the automobile and links it to the parallel worlds of painting, sculpture, architecture, photography, and film. The exhibition brings together nearly forty automobiles that are placed center stage in the galleries and surrounded by significant works of art and architecture. Work by Alexander Calder, Christo, Andreas Gusrky,  Ed Ruscha, and Andy Warhol is included.

Installation view, Motion. Autos, Art, Architecture, Guggenheim Bilbao, Spain, April 8–September 18, 2022. Artwork © Ed Ruscha. Photo: courtesy Guggenheim Museum Bilbao

Installation view, Andreas Gursky, Amorepacific Museum of Art, Seoul, March 31–August 14, 2022. Artwork © Andreas Gursky, VG Bild-Kunst, Bonn, Germany

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Andreas Gursky

March 31–August 14, 2022
Amorepacific Museum of Art, Seoul
apma.amorepacific.com

This is the first solo exhibition in Korea of work by Andreas Gursky, who often integrates multiple photographs to reconstruct reality, capturing places that encapsulate modern civilization to encourage viewers to contemplate the insignificance of individuals in a larger society. The show features more than forty works that provide an overview of Gursky’s entire artistic career, from his early photographs of the mid-1980s to new works produced in 2022.

Installation view, Andreas Gursky, Amorepacific Museum of Art, Seoul, March 31–August 14, 2022. Artwork © Andreas Gursky, VG Bild-Kunst, Bonn, Germany

Andreas Gursky, May Day III, 1998 © Andreas Gursky/VG Bild-Kunst, Bonn, Germany, 2021

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Andreas Gursky in
Electro: Von Kraftwerk bis Techno

December 9, 2021–May 15, 2022
Kunstpalast Düsseldorf, Germany
www.kunstpalast.de

This exhibition, whose title translates to Electro: From Kraftwerk to Techno, examines the history of electronic music and its interconnections with art. Through more than five hundred works, including musical instruments, self-made sound generators, photographs, audio clips, videos, and graphic design, the diverse field of “electronic” music is explored from a variety of perspectives. Work by Andreas Gursky is included.

Andreas Gursky, May Day III, 1998 © Andreas Gursky/VG Bild-Kunst, Bonn, Germany, 2021

Nathaniel Mary Quinn, Pure Insecurity, 2019 © Nathaniel Mary Quinn

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Since Unveiling
Selected Acquisitions of a Decade

November 20, 2021–April 3, 2022
The Broad, Los Angeles
www.thebroad.org

Since Unveiling highlights artworks that have entered the Broad collection in the last decade, with some acquisitions completed as recently as this year. The fifty-seven works on view by twenty-nine artists represent many facets of contemporary art, from explorations of abstraction and figuration to examinations of place, identity, and narrative. Many works witness, critique, and interpret current events, speaking to politics and power structures. Work by Gregory Crewdson, Andreas Gursky, and Nathaniel Mary Quinn are included.

Nathaniel Mary Quinn, Pure Insecurity, 2019 © Nathaniel Mary Quinn

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Press

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