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Encyclopedia > Andreas Gursky

Andreas Gursky (1955 - ) is a German photographer known for the highly textured feel of his enormous photographs often using a high point of view. 1955 (MCMLV) was a common year starting on Saturday of the Gregorian calendar. ... Photography is the process of making pictures by means of capturing light on a light-sensitive medium, such as a sensor or film. ...


Gursky received a strong influence from his teachers, Hilla and Bernd Becher, who are known for their distinctive method of systematically cataloging industrial machinery. This method is similarly found in Gursky's methodical approach to his photography. Bernd and Hilla Becher (Bernd born 1931, Hilla 1934) are German photographers most known for their collection of industrial building images examining the similarities and differences in structure and appearance. ...


Before the mid 1990s, Gursky did not digitally manipulate his images. Today, however Gursky uses computers to edit his pictures and creates art in a larger space than the subject photographed. Gursky holds the record for the highest price paid for a photograph by a living photographer for his work 99 Cent II Diptychon which sold for USD 3.3 million in 2007. For the band, see 1990s (band). ...


Gursky's photograph of the Dance Valley festival in Amsterdam in 1995, depicts revellers facing a DJ stand in a large arena, with strobe lighting effects. The smoke pouring out looks like a hand holding the crowd in stasis. After producing that photo, Gursky has said that the only music he listens to is Techno music because its simple symmetry echos his own work while playing to a deeper more visceral emotion.[citation needed]


See also

Diane Arbus Identical Twins #10 on the list of most expensive photographs. ...

Exhibition

  • 1989 Museum Haus Lange, Krefeld; Centre Genevois de Gravure Contemporaine, Genf, Switzerland
  • 1992 Kunsthalle Zürich, Switzerland
  • 1994 Deichtorhallen, Hamburg; De Appel Foundation, Amsterdam, Netherlands; Kunstmuseum Wolfsburg
  • 1995 Portikus Frankfurt; Rooseum, Malmö, Sweden; Tate Gallery Liverpool, England
  • 1998 Kunsthalle Düsseldorf; Kunstmuseum Wolfsburg; Fotomuseum Winterthur, Switzerland; Milwaukee Art Museum, Milwaukee, USA; Museum of Contemporary Arts, Houston, USA
  • 1999 Scottish National Gallery of Modern Art, Edinburgh, Scotland; Castello di Rivoli, Turin, Italy
  • 2000 Sprengel Museum, Hannover; Galerie für Zeitgenössische Kunst, Leipzig; Busch-Reisinger Museum, Havard University, Cambridge, USA
  • 2001 Museum of Modern Art, New York, USA; Museum of Contemporary Art, Chicago, USA; Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France;
  • 2003 San Francisco Museum of Modern Art, San Francisco, USA
  • 2005 Kunstmuseum Wolfsburg; Fundacion Juan March, Madrid, Spain
  • 2007 Haus der Kunst München, Germany
  • 2007 White Cube, London, England

External links

  • 2001 Exhibition of Andreas Gursky @ MOMA.
  • Gursky's "99 Cent" Prints Fetch Millions At Auction November 29, 2006
  • A Podcast Considering the work of Andreas Gursky.
  • A.Gursky - Solo Exhibition 2007 in Munich
  • Andreas Gursky: from a World Spirit's-eye view

  Results from FactBites:
 
MoMA.org | Exhibitions | 2001 | Andreas Gursky (464 words)
When Gursky, together with other Becher students, began to win recognition in the late 1980s, his photography was interpreted as an extension of his teachers' aesthetic.
The exhibition Andreas Gursky surveys that achievement from 1984 to the present.
Gursky’s world of the 1990s is big, high-tech, fast-paced, expensive, and global.
THE BIG PICTURE.(Interpretation of Andreas Gursky's photographs)(Critical Essay) - Encyclopedia.com (3916 words)
Gursky's images of global commerce resemble neither the mechanist celebration of technological progress (Strand, Renger-Patzsch) nor the humanist critique of labor (Lewis Hine) of the early twentieth century.
Gursky's work of the '80s, which tended to emphasize leisure and nature, was often placed in the German Romantic tradition of the sublime, in the vein of Caspar David Friedrich.
Gursky's panoramic views of quotidian subject matter in the former Federal Republic of Germany were as dispassionate and impersonal as the Bechers' images of blast furnaces and water t owers and suggested a similarly objective approach.
  More results at FactBites »


 
 

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