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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

Fairs, Events & Announcements

Zeng Fanzhi, Rooster, 2019 © 2019 Zeng Fanzhi

Art Fair

Art Basel Hong Kong 2019

March 29–31, 2019, booth 1C18
Hong Kong Convention and Exhibition Centre
www.artbasel.com

Gagosian is pleased to participate in Art Basel Hong Kong 2019, with works by Georg Baselitz, Edmund de Waal, Urs Fischer, Katharina Grosse, Andreas Gursky, Duane Hanson, Damien Hirst, Thomas Houseago, Yayoi Kusama, René Magritte, Giorgio Morandi, Takashi Murakami, Albert Oehlen, Nam June Paik, Richard Prince, Ed Ruscha, Richard Serra, Andy Warhol, Tom Wesselmann, Rachel Whiteread, Jonas Wood, Christopher Wool, Zao Wou-Ki, Zeng Fanzhi, and others. 

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.

Download the full press release in English (PDF), Simplified Chinese (PDF), or Traditional Chinese (PDF)

Zeng Fanzhi, Rooster, 2019 © 2019 Zeng Fanzhi

Jeff Koons, Ode to Love, 2010–17 © Jeff Koons

Art Fair

Art Basel Miami Beach 2018

December 6–9, 2018, booth D7
Miami Beach Convention Center
www.artbasel.com

Gagosian is pleased to participate in Art Basel Miami Beach 2018 with modern and contemporary artworks by Georg Baselitz, Jean-Michel Basquiat, Joe Bradley, Glenn Brown, John Chamberlain, Dan Colen, John Currin, Urs Fischer, Katharina Grosse, Mark Grotjahn, Andreas Gursky, Keith Haring, Damien Hirst, Howard Hodgkin, Jeff Koons, Roy Lichtenstein, Vera Lutter, Man Ray, Peter Marino, Takashi Murakami, Pablo Picasso, Richard Prince, Sterling Ruby, Ed Ruscha, Jenny Saville, Rudolf Stingel, Tatiana Trouvé, Cy Twombly, Andy Warhol, Tom Wesselmann, and Jonas Wood, among others.

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.

Jeff Koons, Ode to Love, 2010–17 © Jeff Koons

Ed Ruscha, Even Though He’s Light Years Away, His Heart Belongs to Me, 1963 © Ed Ruscha

Art Fair

Seattle Art Fair 2018

August 2–5, 2018, booth A09
CenturyLink Field Event Center, Seattle
www.seattleartfair.com

Gagosian is pleased to present Out of This World: Artists Explore Space, a booth curated by Larry Gagosian for the 2018 Seattle Art Fair. The presentation gathers works that reveal artistic and scientific explorations of the cosmos. Featured artists include Richard Avedon, Andisheh Avini, Chris Burden, Alexander Calder, Vija Celmins, Ellen Gallagher, Andreas Gursky, Damien Hirst, Neil Jenney, Mike Kelley, Yves Klein, Vera Lutter, Brice Marden, Marc Newson, Nam June Paik, Thomas Ruff, Ed Ruscha, Tom Sachs, Taryn Simon, Yves Tanguy, and Andy Warhol, among others.

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 seattleartfair.com.

Ed Ruscha, Even Though He’s Light Years Away, His Heart Belongs to Me, 1963 © Ed Ruscha

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Museum Exhibitions

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

On View

Shared Space
A New Era, Photographs from the Bank of America Collection

Through December 15, 2019
Art Museum, University of Saint Joseph, West Hartford, Connecticut
www.usj.edu

This exhibition explores a changing social landscape captured in photographs and video created over the span of nearly twenty-five years. Eighteen artists from nine countries explore how the physical spaces in which we interact—from city streets to rural landscapes—have evolved alongside our access to a virtual “global village.” Work by Gregory Crewdson and Andreas Gursky is included.

Gregory Crewdson, Untitled, 1998–2002 © Gregory Crewdson

Installation view, Fiçcão e fabricação: Fotografia de arquitetura após a revolução digital, Museum of Art, Architecture and Technology, Lisbon, March 20–August 19, 2019. Artwork, left to right © Jeff Wall, © Gregory Crewdson

Closed

Fiçcão e fabricação
Fotografia de arquitetura após a revolução digital

March 20–August 19, 2019
Museum of Art, Architecture and Technology, Lisbon
www.maat.pt

This exhibition, whose English title is Fiction and Fabrication: Photography of Architecture after the Digital Turn, looks at artists who have created and engaged with imagery of architecture. It examines how digital manipulation has enabled a fictionalization of architectural spaces, and explores architecture’s role in an expanded practice of photography within contemporary art. Work by Gregory Crewdson, Andreas Gursky, and Jeff Wall is included.

Installation view, Fiçcão e fabricação: Fotografia de arquitetura após a revolução digital, Museum of Art, Architecture and Technology, Lisbon, March 20–August 19, 2019. Artwork, left to right © Jeff Wall, © Gregory Crewdson

Carsten Höller, Light Wall, 2000/17 © Carsten Höller

Closed

Ecstasy

September 29, 2018–February 24, 2019
Kunstmuseum Stuttgart, Germany
kunstmuseum-stuttgart.de

This exhibition allows the visitor to become familiar with the various faces of ecstasy and with the shifting social significance of mind-altering states as it changed over the centuries. In doing so, it also considers how different cultural spheres handle the phenomenon of ecstasy. With art at its foundation, the show introduces viewers to various ways that artists have approached ecstatic states—including pictorial representations, video, installation works, and kinesthetic experiences. Work by Andreas Gursky, Carsten Höller, and Man Ray is included.

Carsten Höller, Light Wall, 2000/17 © Carsten Höller

Ed Ruscha, Azteca/Azteca In Decline, 2007, Broad Art Foundation © Ed Ruscha

Closed

A Journey That Wasn’t

June 30, 2018–February 10, 2019
The Broad, Los Angeles
www.thebroad.org

This exhibition explores complex representations of time and its passage. The show includes more than fifty works drawn from the museum’s collection of postwar and contemporary art and features more than twenty artists, including Richard Artschwager, Gregory Crewdson, Andreas Gursky, Anselm Kiefer, and Ed Ruscha.

Ed Ruscha, Azteca/Azteca In Decline, 2007, Broad Art Foundation © Ed Ruscha

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Press

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