Manipulative Fotografie bei Andreas Gursky (German Edition)

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  1. Andreas Gursky: postmodern photography. • XIBT Contemporary Art Mag
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Even as the new American color work helped Gursky to chart a path away from the Becherses influence, their lessons persisted through his adherence to an unvarying pictorial type—a broad prospect populated by tiny figures who are surveyed by a godlike eye that is everywhere and nowhere at once. As Gursky repeated this pattern of artistic development in the years to come, responding to a widening range of imagery and ideas without wholly abandoning his earlier attachments, the resilient core of his work became more and more his own.

Pictures such as Ruhr Valley, , in which a lone figure is dwarfed by his surroundings, evokes the stirring emotion of landscapes by Caspar David Friedrich and other masters of German Romanticism.

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  6. His hybrid art welcomes associations with both the grand and the ordinary, tapping the reservoir of images that we all carry in our heads. Before , when a stipend from the Kunstakademie freed him to concentrate on his own work, Gursky had executed a number of commercial assignments himself. His professional skill, and his mastery of the slick vocabulary of advertising photography, served him well as he began to define his vision of the contemporary zeitgeist.

    That vision developed rapidly after , when Gursky was invited to participate in an ambitious photographic project sponsored by the German industrial giant Siemens. During the early s, Gursky traveled more widely in search of up-to-date subjects—huge office and apartment buildings, trading floors, airports, major sporting events—in which the anonymous individual, overwhelmed by the impersonal environment, is but one among many.

    In the late s, Gursky, Thomas Ruff, Thomas Struth and other Becher students had rapidly achieved recognition in a burgeoning art world newly responsive to photography.

    Their unanticipated prominence enabled them to print their photographs much larger, allowing them to compete with painters and sculptors. In one sense, it was an homage to the long series of monochrome gray paintings that Gerhard Richter had begun in the late s. At the same time, it is quintessentially photographic—an unbroken gradient of texture, receding from bottom to top of the picture. Bahrain I , , C-Print, x ,5 x 6,2 cm framed. Mayday V , , x ,8 cm.

    Andreas Gursky: postmodern photography. • XIBT Contemporary Art Mag

    Beelitz , Cocoon I , F1 Boxenstopp I , F1 Boxenstopp III , Kamiokande , Kathedrale , , C-Print, x x 6,2 cm. Tour de France , , C-print, Bahrain II , Hamm — Bergwerk Ost , James Bond Island II , Dubai World III , Jumeirah Palm , Ohne Titel XV , Dortmund , Ocean I , Ocean V , Bangkok IX , Frankfurt Airport , Katar , Amazon , Andreas Gursky from to Present. Andreas gursky from to present. For his exhibition andreas gursky has selected 60 works from his oeuvre.

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    Waiving a chronological hanging, he mixed old and new, small large format works. This allows the audience to view the scenes from a place that is both peripheral and central. Using each subject to create an unconventional geometry, he organizes the world fitting in with his personal visual logic. He began his portrayals of stock exchanges in and has continued this project throughout his career.

    Projects like this lead towards his visit to North Korea as well as a photos of concerts, sport events and other large-scale events. Your email address will not be published.

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    Andreas Gursky, Used

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