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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

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

Still from Andreas Gursky: Long Shot Close Up (2009) by Jan Schmidt-Garre

Screening

“Cinema” Film Festival
Andreas Gursky, Piero Manzoni, Cy Twombly

January 28–February 1, 2020
La Fondazione, Rome
www.lafondazione.info

Over the course of five days, La Fondazione will be hosting a film festival showcasing films by and about artists, including Andreas Gursky: Long Shot Close Up (2009), Piero Manzoni Artista (2014), and Cy Dear (2018)To attend the free event, RSVP to lafondazione.info@gmail.com. Space is limited and will be granted on a first-come, first-served basis.

Still from Andreas Gursky: Long Shot Close Up (2009) by Jan Schmidt-Garre

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

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Museum Exhibitions

Andreas Gursky, Kreuzfahrt, 2020 © Andreas Gursky/VG Bild-Kunst, Bonn 2020

On View

Andreas Gursky

Through August 22, 2021
Museum der bildenden Künste, Leipzig, Germany
mdbk.de

For this highly personal retrospective—his first solo exhibition in the city of his birth—Andreas Gursky selected approximately eighty photographs, including around fifty extremely large-format compositions; older iconic works that have imprinted themselves on the visual memory, such as 99 Cent (1999); and new works that have yet to be exhibited in a museum.

Andreas Gursky, Kreuzfahrt, 2020 © Andreas Gursky/VG Bild-Kunst, Bonn 2020

Gregory Crewdson, Untitled, 2004 © Gregory Crewdson

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The Essl Collection
Photography

December 7, 2020–April 5, 2021
Albertina Modern, Vienna
www.albertina.at

Complementing an overview of the Essl Collection, which has been held by the Albertina since 2017, the lower level of the Albertina Modern is presenting a special exhibition of works from the Essl Collection’s photographic holdings. In addition to notable examples of contemporary photography, the show particularly focuses on representatives of the Becher School, who studied under the influential photographers Bernd and Hilla Becher at the Kunstakademie Düsseldorf in the 1970s. Work by Gregory Crewdson, Andreas Gursky, and Cindy Sherman is included.

Gregory Crewdson, Untitled, 2004 © Gregory Crewdson

Taryn Simon, Sausages (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

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Terminal

August 13, 2020–February 14, 2021
City Gallery Wellington, New Zealand
citygallery.org.nz

Terminal is an exhibition of international art made about the airport, not for it. The exhibiting artists variously address the airport as site, form, or symbol—often by subverting its iconography and processes, or by tackling its history and politics. Work by Andreas Gursky and Taryn Simon is included.

Taryn Simon, Sausages (prohibited), 2010, from the series Contraband, 2010 © Taryn Simon

Gregory Crewdson, Untitled, 2005 © Gregory Crewdson

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Photography’s Last Century
The Ann Tenenbaum and Thomas H. Lee Collection

March 10–November 30, 2020
Metropolitan Museum of Art, New York
www.metmuseum.org

This exhibition celebrates the remarkable ascendancy of photography in the last century, and Ann Tenenbaum and Thomas H. Lee’s promised gift of over sixty photographs in honor of the Met’s 150th anniversary in 2020. The collection is particularly notable for its breadth and depth of works by women artists, its sustained interest in the nude, and its focus on artists’ beginnings. Work by Gregory Crewdson, Andreas Gursky, Man Ray, Cindy Sherman, Andy Warhol, and Rachel Whiteread is included.

Gregory Crewdson, Untitled, 2005 © Gregory Crewdson

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Press

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