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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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Andreas Gursky

b. 1955, Germany

Andreas Gursky is well known for his large-scale, colour photographs which critically document the effects of globalisation and capitalism on contemporary life. Gursky’s studies under Bernd and Hilla Becher in the early 1980s at the Düsseldorf Kunstakademie, were an early influence in his approach to making photographs. They were particularly well known for their de-personalised images of industrial buildings often shot in sequence to emphasise the purely documentary approach. Also influential were the New Topographics movement photographers in the United States, who photographed in an anonymous 'style' often depicting the ordinary landscapes of suburban developments and industrial parks.

Gursky’s later work is characterised by its distinct clarity, attention to composition, and a scale that recalls historical landscape paintings. His photographs emphasise the relationships of global communities and a contemporary unitary existence. In doing so Gursky regularly employs a high point of view which allows him to capture large expanses of architecture, interiors, and vast landscapes. Gursky also uses digital manipulation to further enhance the striking nature of his images.

Andreas Gursky’s work is held in collections at the Museum of Modern Art, New York; the Tate Modern, London; the Centre Pompidou, Paris; the San Francisco Museum of Modern Art and the Metropolitan Museum of Art, New York. He has exhibited internationally including at the Venice Biennale of Architecture (2004), the Shanghai Biennale (2002), and the Sydney Biennial (2000). Andreas Gursky holds the record for the highest price paid for a single photographic work at auction.

Andreas Gursky lives and works in Düsseldorf, Germany.

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Featured Artworks

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Ocean IV by Andreas Gursky contemporary artwork Andreas GurskyOcean IV, 2010 C-print, Diasec
340.1 x 249.4 x 6.4 cm (incl frame)
Sprüth Magers
Tokyo by Andreas Gursky contemporary artwork Andreas GurskyTokyo, 2017 Diasec-mounted inkjet print
93.12 x 163.25 x 2.5 inches (incl frame)
Gagosian
Utah by Andreas Gursky contemporary artwork Andreas GurskyUtah, 2017 Inkjet-print, Diasec
225.6 x 457.6 cm
Sprüth Magers
Mülheim an der Ruhr, Sonntagsspaziergänger by Andreas Gursky contemporary artwork Andreas GurskyMülheim an der Ruhr, Sonntagsspaziergänger, 1985 Inkjet print, framed behind glass
53 x 69.2 cm
Sprüth Magers
Dolomiten, Seilbahn by Andreas Gursky contemporary artwork Andreas GurskyDolomiten, Seilbahn, 1987 C-Print / Diasec
200.5 x 267 cm
Sprüth Magers
Kirchentag by Andreas Gursky contemporary artwork Andreas GurskyKirchentag, 2013 Inkjet print,
307 x 217 x 6.2 cm
Sprüth Magers
Alba by Andreas Gursky contemporary artwork Andreas GurskyAlba, 1989 C-Print, Diasec. Copyright: Andreas Gursky / DACS, 2014 Courtesy Sprüth Magers Berlin London
221 x 276.5 x 6.2 cm
Sprüth Magers
Niagara Falls by Andreas Gursky contemporary artwork Andreas GurskyNiagara Falls, 1989 C-print, diasec
278.7 x 221 x 6.2 cm
Sprüth Magers

Recent Exhibitions

Contemporary art exhibition, Andreas Gursky, Andreas Gursky at Gagosian, Geneva
Closed
1 February–17 March 2019 Andreas Gursky Andreas Gursky Gagosian, Geneva
Contemporary art exhibition, Andreas Gursky, Early Landscapes at Sprüth Magers, London
Closed
15 April–14 June 2014 Andreas Gursky Early Landscapes Sprüth Magers, London

Represented By

In Related Press

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Andreas Gursky Captures the Pandemonium of Industrialized Overproduction Related Press Andreas Gursky Captures the Pandemonium of Industrialized Overproduction Hyperallergic : 4 April 2018

Shortly before entering Andreas Gursky's latest retrospective which is installed in the Hayward Gallery's renovated digs, my phone buzzes with news from the World Economic Forum in Davos. There, US Treasury Secretary Steven Mnuchin has made an offhand comment. It was nothing much: 'The dollar is one of the most liquid markets,' he stated. 'A weaker...

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All Under Heaven: Hayward Gallery Returns With Andreas Gursky Retrospective Related Press All Under Heaven: Hayward Gallery Returns With Andreas Gursky Retrospective Frieze : 25 January 2018

In Andreas Gursky's Mülheim, Anglers (1989), hobby fishermen gather on the banks of the river Ruhr. As verdant forest collapses into the curl of the water, the epic romance is broken by the emergence of the Autobahn in the distance. Part of Gursky's 68-work retrospective at the newly reopened Hayward Gallery in London's Southbank Centre, it is as...

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A class apart: a new show explores the radical approach of the Bechers and their students Related Press A class apart: a new show explores the radical approach of the Bechers and their students Wallpaper* : 30 April 2017

In 1959, photography was still struggling to be an art form. Bernd and Hilla Becher were a young couple living in Düsseldorf, making conceptual art together. Bernd had studied painting and typography, while Hilla had completed an apprenticeship as a photographer. They began to collaborate, systematically taking pictures on an 8 x 10 of things that...

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'Photography has become the seismograph for contemporary society' Related Press 'Photography has become the seismograph for contemporary society' The Art Newspaper : 10 November 2016

Christoph Wiesner, the artistic director of Paris Photo, was appointed in 2015 along with the fair’s new director, Florence Bourgeois. Their first edition was cut short by the November 2015 terrorist attacks on Paris and the fair closed after three days.A curator and art historian, Wiesner was the senior director at Yvon Lambert gallery...

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