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Updated Wednesday, September 7, 2016 | 3:35:37

Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker

September 30, 2016 - March 5, 2017

To order publicity images: Publicity images are available only for those objects accompanied by a thumbnail image below. Please email [email protected] or fax (202) 789-3044 and designate your desired images, using the “File Name” on this list. Please include your name and contact information, press affiliation, deadline for receiving images, the date of publication, and a brief description of the kind of press coverage planned.

Links to download the digital image files will be sent via e-mail. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted.

Important: The images displayed on this page are for reference only and are not to be reproduced in any media.

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John Baldessari

Conductor/Pianist/Orchestra (Red/Yellow/Blue), 1995/2007

inkjet print with acrylic paint, printed 2007 framed: 181.29 × 251.14 × 6.03 cm (71 3/8 × 98 7/8 × 2 3/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Marina Abramovic

The Kitchen I, From the series The Kitchen, Homage to Saint Therese, 2009

inkjet print framed: 222.25 × 162.56 × 6.99 cm (87 1/2 × 64 × 2 3/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

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Bernd and Hilla Becher

Water Towers, 1972-2009

nine gelatin silver prints each unit (framed): 56.2 × 46.36 × 3.18 cm (22 1/8 × 18 1/4 × 1 1/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Thomas Demand Sink, 1996

chromogenic print sheet (face mounted): 53.02 × 56.52 cm (20 7/8 × 22 1/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Order images online at: http://www.nga.gov/content/ngaweb/press/exh/3993/images.html

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National Gallery of Art Press Office | Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker

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Thomas Demand

Clearing, 2003

chromogenic print sheet (face mounted): 192.09 × 495.3 cm (75 5/8 × 195 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Thomas Demand, VG Bild-Kunst, Bonn / ARS, New York

Thomas Demand

Daily Nr. 2, 2008

dye imbibition print framed: 93.03 × 74.61 × 5.08 cm (36 5/8 × 29 3/8 × 2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

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Andreas Gursky Rimini, 2003

silver dye bleach print framed: 298.13 × 207.01 × 6.35 cm (117 3/8 × 81 1/2 × 2 1/2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Andreas Gursky

Bahrain II, 2007

chromogenic print framed: 307 × 213.1 × 6.35 cm (120 7/8 × 83 7/8 × 2 1/2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Candida Höfer

Musée du Louvre Paris VIII, 2005

chromogenic print framed: 204.79 × 276.23 × 5.4 cm (80 5/8 × 108 3/4 × 2 1/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Candida Höfer/VG Bild-Kunst, Bonn

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Candida Höfer

George Peabody Library Baltimore, 2010

chromogenic print framed: 184.15 × 196.53 × 4.45 cm (72 1/2 × 77 3/8 × 1 3/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Candida Höfer/VG Bild-Kunst, Bonn

Order images online at: http://www.nga.gov/content/ngaweb/press/exh/3993/images.html

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National Gallery of Art Press Office | Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker

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Candida Höfer

The Walters Art Museum Baltimore I, 2010

chromogenic print framed: 184.15 × 227.33 × 4.45 cm (72 1/2 × 89 1/2 × 1 3/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Anselm Kiefer

Vanitas, 2007

mixed media with oil paint, emulsion, shellac, plant material, and soil on gelatin silver print framed: 191.14 × 140.97 × 10.16 cm (75 1/4 × 55 1/2 × 4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Anselm Kiefer

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Vera Lutter

World Trade Center 7, III: October 30, 2007, 2007

gelatin silver print framed: 174.94 × 124.46 × 7.62 cm (68 7/8 × 49 × 3 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Vik Muniz

Noon Rush Hour on Fifth Avenue, 1949, After Andreas Feininger (Pictures of Paper), 2009

gelatin silver print framed: 166.37 × 130.81 × 5.08 cm (65 1/2 × 51 1/2 × 2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Catherine Opie

Lawrence (Black Shirt), 2012

inkjet print framed: 88.27 × 68.26 × 5.4 cm (34 3/4 × 26 7/8 × 2 1/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Thomas Ruff

Portrait (P. Stadtbäumer), 1990

chromogenic print framed: 210.19 × 165.42 × 3.81 cm (82 3/4 × 65 1/8 × 1 1/2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Order images online at: http://www.nga.gov/content/ngaweb/press/exh/3993/images.html

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National Gallery of Art Press Office | Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker

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Thomas Ruff

Portrait (T. Ruff), 1991

chromogenic print framed (approx.): 185.74 × 180.66 × 3.81 cm (73 1/8 × 71 1/8 × 1 1/2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker, in Honor of the 25th Anniversary of Photography at the National Gallery of Art

Thomas Struth

Notre Dame, Paris 2000, 2000

chromogenic print framed: 186.06 × 229.55 × 5.72 cm (73 1/4 × 90 3/8 × 2 1/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

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Thomas Struth

Alte Pinakothek, Self-Portrait, Munich 2000, 2000

chromogenic print framed: 161.93 × 189.87 × 2.54 cm (63 3/4 × 74 3/4 × 1 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker, in Honor of the 25th Anniversary of Photography at the National Gallery of Art © Thomas Struth

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Thomas Struth

Pergamon Museum 6, Berlin 1996, 1996

chromogenic print framed: 176.21 × 247.02 × 6.03 cm (69 3/8 × 97 1/4 × 2 3/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Thomas Struth

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Thomas Struth

Museo del Prado 7, Madrid 2005, 2005

chromogenic print framed: 182.25 × 223.52 × 6.03 cm (71 3/4 × 88 × 2 3/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Thomas Struth

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Cindy Sherman

Untitled Film Still #4, 1977

gelatin silver print framed: 92.08 × 108.59 × 5.08 cm (36 1/4 × 42 3/4 × 2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker, in Honor of the 25th Anniversary of Photography at the National Gallery of Art Courtesy of the artist and Metro Pictures, New York

Order images online at: http://www.nga.gov/content/ngaweb/press/exh/3993/images.html

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National Gallery of Art Press Office | Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker

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Cindy Sherman

Untitled #211, 1989

chromogenic print framed: 117.79 × 102.24 × 6.35 cm (46 3/8 × 40 1/4 × 2 1/2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Thomas Struth

Tokamak Asdex Upgrade Interior 2, Max Planck IPP, Garching 2009, 2009

chromogenic print framed: 146.05 × 180.34 × 6.03 cm (57 1/2 × 71 × 2 3/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Thomas Struth

Queen Elizabeth II and The Duke of Edinburgh, Windsor Castle 2011, 2011

chromogenic print framed (approx.): 175.58 × 218.44 × 6.03 cm (69 1/8 × 86 × 2 3/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Hiroshi Sugimoto

Tampa, Florida, 1979

gelatin silver print framed: 152.56 × 182.56 × 7.62 cm (60 1/16 × 71 7/8 × 3 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Hiroshi Sugimoto, courtesy Pace Gallery

Hiroshi Sugimoto

Caribbean Sea, Jamaica, 1980

gelatin silver print framed: 152.72 × 182.56 × 7.62 cm (60 1/8 × 71 7/8 × 3 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Hiroshi Sugimoto, courtesy Pace Gallery

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Hiroshi Sugimoto

Anne Boleyn, 1999

gelatin silver print framed: 182.25 × 152.4 × 7.62 cm (71 3/4 × 60 × 3 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker © Hiroshi Sugimoto, courtesy Pace Gallery

Order images online at: http://www.nga.gov/content/ngaweb/press/exh/3993/images.html

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National Gallery of Art Press Office | Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker

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Jeff Wall

Hotels, Carrall St., Vancouver, summer 2005, 2005

transparency in light box overall: 244.48 × 302.26 × 29.53 cm (96 1/4 × 119 × 11 5/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

James Welling

0467, from the series Glass House, 2009

inkjet print framed: 103.19 × 145.73 × 3.81 cm (40 5/8 × 57 3/8 × 1 1/2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Thomas Struth

Restorers at San Lorenzo Maggiore, Naples 1988, 1988

chromogenic print framed (?): 118.75 × 159.39 × 3.18 cm (46 3/4 × 62 3/4 × 1 1/4 in.) Collection of Rheda Becker

Thomas Struth

National Gallery 2, London 2001, 2001

chromogenic print framed: 153.04 × 175.26 × 4.76 cm (60 1/4 × 69 × 1 7/8 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Richard Avedon

Marilyn Monroe, actor, New York, May 6, 1957, 1957

gelatin silver print, printed 1980 framed: 85.73 × 64.77 × 4.45 cm (33 3/4 × 25 1/2 × 1 3/4 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Vik Muniz

Marilyn Monroe, Actress, NY City, May 6, 1957, After Avedon (Gordian Puzzle), 2007

chromogenic print framed: 190.82 × 189.39 × 5.08 cm (75 1/8 × 74 9/16 × 2 in.) Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker Art © Vik Muniz/Licensed by VAGA, New York, NY

Cindy Sherman

Untitled, 2016

dye sumblimation metal print Promised Gift from the Collection of Robert E. Meyerhoff and Rheda Becker

Order images online at: http://www.nga.gov/content/ngaweb/press/exh/3993/images.html

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Recommended publications
  • The New Photography of Crewdson, Gursky and Wall

    The New Photography of Crewdson, Gursky and Wall

    University of Kentucky UKnowledge University of Kentucky Master's Theses Graduate School 2011 CONSTRUCTING THE REAL: THE NEW PHOTOGRAPHY OF CREWDSON, GURSKY AND WALL Melissa A. Schwartz University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Schwartz, Melissa A., "CONSTRUCTING THE REAL: THE NEW PHOTOGRAPHY OF CREWDSON, GURSKY AND WALL" (2011). University of Kentucky Master's Theses. 97. https://uknowledge.uky.edu/gradschool_theses/97 This Thesis is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Master's Theses by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF THESIS CONSTRUCTING THE REAL: THE NEW PHOTOGRAPHY OF CREWDSON, GURSKY AND WALL A new class of photographs that relies on digital processes, best exemplified by the works of Gregory Crewdson, Andreas Gursky and Jeff Wall all exhibit a ‘not quite right’ quality that calls into question some of the most closely held truisms of photographic thought. Through novel technological processes combined with the elements of the new photography—new scale, fabulist imagery, and implied narrative—these images challenge the nature of photography as a documentary process and, beyond that, the nature of what we understand to be ‘the real’ that is supposedly documented. A visual analysis of these images through the lens of Roland Barthes’ and Susan Stewart’s scholarship reveals truths about these images and about photography as a medium.
  • Andreas Gursky September 12–November 14, 2020 Sprüth Magers, Berlin

    Andreas Gursky September 12–November 14, 2020 Sprüth Magers, Berlin

    Press Release Andreas Gursky September 12–November 14, 2020 Sprüth Magers, Berlin Monika Sprüth and Philomene Magers are pleased to present a substantial exhibition of new photographs by Andreas Gursky, his first new body of work in almost three years, in which he takes up a range of themes that he has investigated for decades. Despite the continuity in theme and subject matter—our built environment, humankind’s impact on the natural world—the new pictures embed his analyses in current events, offering altered settings and situations to explore. Rhine III (2018) revisits his important work Rhine II (1999)—the dimensions, setting and composition of both are all almost identical. And yet, just twenty years later, the mood is drastically altered. The drought of summer 2018 reduced the river to a record low, and the new picture offers a dystopian vision of the once flourishing river landscape. Cruise (2020) also brings to mind an important earlier work, Paris, Montparnasse (1993). The same grid-like structure appears, but instead of a large apartment building, here there are hundreds of windows on the side of an enormous cruise ship. As with the Paris picture, Cruise shows a human environment atomized into a modernist grid. Politik II (2020) directly follows Gursky's work Rückblick (2015), also included in the exhibition, to create a new series that looks at political structures. Over a period of several months, Gursky closely observed the activities of the members of parliament in the German Bundestag. Politik II features thirteen politicians in animated conversations, the figures filling the entire width of the picture.
  • ANDREAS GURSKY Education Solo Exhibitions

    ANDREAS GURSKY Education Solo Exhibitions

    ANDREAS GURSKY 1955 Born in Leipzig, Germany Lives and works in Düsseldorf Education 1981–87 Kunstakademie, Düsseldorf 1978–81 Folkwang University of the Arts, Essen, Germany Solo exhibitions 2020 Museum der bildenden Künste Leipzig, Germany Sprueth Magers, Berlin 2019 Gagosian, Tarmak 22, Gstaad Saanen Airport, Gstaad Andreas Gursky - Photographs 1995-2007, Espace Louis Vuitton Beijing 2018 White Cube, London Hayward Gallery, London 2017 Bangkok, Gagosian Gallery, Rome 2016 Not Abstract II, Gagosian, New York Andreas Gursky: nicht abstrakt, K20, Düsseldorf 2015 Museum Frieder Burda, Baden-Baden, Germany Andreas Gursky: Landscapes, Parrish Art Museum, Water Mill, New York 2014 White Cube, London Andreas Gursky: Early Landscapes, Sprüth Magers, London The National Museum of Art, Osaka 2013 Galerie Rüdiger Schöttle (with Jeff Wall), Munich The National Art Center, Tokyo 2012 Stiftung Museum Kunstpalast, Düsseldorf Louisiana Museum of Modern Art, Humlebaek, Denmark Gagosian, Hong Kong 2011 Gagosian, New York 2010 Gagosian, Los Angeles Sprüth Magers, Berlin 2009 Werke/Works 80-08, Vancouver Art Gallery Moderna Museet, Stockholm 2008 Matthew Marks Gallery, New York National Gallery of Victoria, Melbourne Werke/Works 80-08, Museum Haus Lange and Haus Esters, Krefeld, Germany Mathildenhöhe, Darmstadt, Germany Andreas Gursky’s Personal Exhibition, Cultural Foundation Ekaterina, Moscow Centre d’Arts et de Nature, Chaumont-sur-Loire, France Pinchuk Art Centre, Kiev Museum für Moderne Kunst, Frankfurt 2007 Kunstmuseum Basel Matthew Marks Gallery,
  • Andreas Gursky's Photos Visually Articulate

    Andreas Gursky's Photos Visually Articulate

    Los Angeles Times October 17, 2015 GAGOSIAN GALLERY Andreas Gursky’s photos visually articulate the world around us, framing modern society Geoff Dyer Andreas Gursky’s “99 Cent,” an exploration of repetition, consumerism and color. (© 2015 Andreas Gursky / VG Bild-Kunst, Bonn/The Broad Foundation) Either way, from 1938 onwards, when “American Photographs” was published and exhibited at the Museum of Modern Art, this was how America came to look — and what we looked for in America. Documentation doubled as creation. Not just the creation of an observed world but of the terms and criterion by which the results would be judged. And the look was not simply aesthetic; despite Evans’ famous claim to the contrary — “NO POLITICS whatever” — it framed, described and reflected larger ideological, economic and political forces that had created the Depression. With a little adjustment and the odd inversion — for Depression read boom — much of the above can be transferred directly to Andreas Gursky. These days, we routinely find ourselves walking or driving through a Gursky world. That world may have been there — logically, must have been there — before he photographed it, but I, for one, was not conscious that it looked like this. Which seems surprising, given how readily we recognized his ability to visually articulate the world around us, and how frequent the experience of stepping inside or inhabiting a Gursky turns out to be. Naturally, you don’t have to be in the exact same places that the German photographer has photographed in order to have this experience. In fact, you don’t even need to have seen an actual Gursky.
  • Experiences of Place in the Work of Ed Ruscha and Andreas Gursky

    Experiences of Place in the Work of Ed Ruscha and Andreas Gursky

    ACCESS: CONTEMPORARY ISSUES IN EDUCATION 2010, VOL. 29, NO. 1, 10–20 Destination anywhere: Experiences of place in the work of Ed Ruscha and Andreas Gursky Kristen Sharp RMIT University ABSTRACT This paper examines how the meaning of place and identification with place can be produced through photographic images of the city. As an aesthetic, social and cultural practice, photography provides a way of imagining place and a means of knowing and classifying the urban spaces. Photographic images of the city can be understood as a form of aesthetic knowledge production, which represents and enacts the experiences of the urban environment. The urban spaces imaged by artists Ed Ruscha and Andreas Gursky, in the 1960s and 1990s respectively, actively represent and perform the symbolic and material properties of urban spaces. By exploring the ways that these artists read and map city spaces and how they articulate an experience of the city that engages with the identification of place, an argument is presented about how this process and imaging can be situated in relation to anthropological and geographic concepts of place. More specifically, what this paper explores is how their work demonstrates a sense of place that is complex and mobile, which can oscillate between notions of site specificity, identification and non- place as defined by Marc Augé. The significance of place in a global world In recognition of contemporary processes of globalisation there has been reconsideration of the meanings of space and place in a period defined by “time-space compression” (Harvey, 1990) and flows of people, objects and ideas (Urry, 2000, 2003; Appadurai, 1996).
  • Andreas Gursky's Monumental Photographs: the Media Nowa

    Andreas Gursky's Monumental Photographs: the Media Nowa

    JUST WHAT IS IT THAT MAKES GURSKY’S PHOTOS SO DIFFERENT, SO APPEALING? 1 ON ANDREAS GURSKY’S PICTORIAL STRATEGY AND THE EMBLEMATIC NATURE OF HIS ARCHITECTURAL PHOTOGRAPHS RALF BEIL 2 Andreas Gursky’s monumental photographs: The media nowa - phy have since then never stood still. Is it also just coincidence approach whose intention is nothing less than to find the one, Frankfurt, 2007), exchanges ( Tokyo Stock Exchange, 1990; Hong days uses them as eye-catchers (fig. 1); avant-garde scholars use that Thomas Demand’s C-print Wand (Mural), made in 1999 (fig. universal image that contains in compressed form all the values Kong Stock Exchange, 1994; Chicago Board of Trade I, 1997; 15 them as pictorial arguments to strengthen their thrust when diag - 3), serves as eye-catcher in the artist’s home, a loft designed by of civilized existence.” Chicago Board of Trade II, 1999; Kuwait Stock Exchange, 2007), 3 nosing today. 2 His works precisely reflect the spirit of the age. But architects Herzog & De Meuron? hotel complexes ( Atlanta, 1996; Times Square, 1997; San Fran - what is it that makes them what they are? And makes them so Gursky always has his eye on the world, seeking to transpose the ARCHITECTURE AS THEME AND SYMPTOM cisco, 1998; Shanghai, 2000; Avenue of the Americas, 2001), lux - different? What is it that makes them important, given the model abstraction into the reality of images: He is the peintre de la The compression of the issues and the values of civilized exis - ury business ( Prada I, 1996; Prada II, 1997; Ohne Titel V [Unti - tremendous amount of image data available in an “age of total vie moderne of the global age.
  • ANDREAS GURSKY Education Solo Exhibitions

    ANDREAS GURSKY Education Solo Exhibitions

    ANDREAS GURSKY 1955 Born in Leipzig, Germany Lives and works in Düsseldorf Education 1981–87 Kunstakademie, Düsseldorf 1978–81 Folkwang University of the Arts, Essen, Germany Solo exhibitions 2020 Sprueth Magers, Berlin 2019 Gagosian, Tarmak 22, Gstaad Saanen Airport, Gstaad 2018 White Cube, London Hayward Gallery, London 2017 Bangkok, Gagosian Gallery, Rome 2016 Not Abstract II, Gagosian, New York Andreas Gursky: nicht abstrakt, K20, Düsseldorf 2015 Museum Frieder Burda, Baden-Baden, Germany Andreas Gursky: Landscapes, Parrish Art Museum, Water Mill, New York 2014 White Cube, London Andreas Gursky: Early Landscapes, Sprüth Magers, London The National Museum of Art, Osaka 2013 Galerie Rüdiger Schöttle (with Jeff Wall), Munich The National Art Center, Tokyo 2012 Stiftung Museum Kunstpalast, Düsseldorf Louisiana Museum of Modern Art, Humlebaek, Denmark Gagosian, Hong Kong 2011 Gagosian, New York 2010 Gagosian, Los Angeles Sprüth Magers, Berlin 2009 Werke/Works 80-08, Vancouver Art Gallery Moderna Museet, Stockholm 2008 Matthew Marks Gallery, New York National Gallery of Victoria, Melbourne Werke/Works 80-08, Museum Haus Lange and Haus Esters, Krefeld, Germany Mathildenhöhe, Darmstadt, Germany Andreas Gursky’s Personal Exhibition, Cultural Foundation Ekaterina, Moscow Centre d’Arts et de Nature, Chaumont-sur-Loire, France Pinchuk Art Centre, Kiev Museum für Moderne Kunst, Frankfurt 2007 Kunstmuseum Basel Matthew Marks Gallery, New York Haus der Kunst, Munich; Istanbul Modern and Sharjah Art Museum, United Arab Emirates White Cube, London
  • Press Kit / Urban Spaces / Artists.Doc 1 Urban Spaces Artists ANDREAS

    Press Kit / Urban Spaces / Artists.Doc 1 Urban Spaces Artists ANDREAS

    Urban Spaces Artists ANDREAS GURSKY (1955, Leipzig, Germany; lives and works in Düsseldorf): He started working in commercial with his father. In the early 80´s he attends Bernd Becher photography class, although he almost immediately leaves behind black and white and starts working in colour. In the mid 80`s explores the contrasts between natural landscapes and industrial areas, and takes photographs of groups of people in recreational activities embedded into landscape. In the early 90`s Gursky adopts a monumental format and in the mid 90`s he focuses his work on large buildings. His photographs are inhabited by people tingling in the spaces. He reproduces a world that is opening up to a global dimension. His photographs are taken from on the highs, from cranes or helicopters, digitally tweaked. A retrospective of his work is held in Deichtorhallen, Hamburg, and at the Stichting De Appel in Amsterdam. In 1998, at Kunsthalle, Düsseldorf, an exhibition of his work from 1994 to 1998 is held, and in 2001 an important retrospective is held at the New York Museum of Modern Art. In 2001 he also wins the Infinity Award for Art given by the New York International Centre of Photography. Since 2007 until today there were many exhibitions of his work held, for example, at the Kunstmuseum, Basilea, and in at Monaco Haus der Kunst. The latest exhibition, Werke 80-08, was held at the Stockholm Modern Museet and the Vancouver Art Gallery. - Interview with Andreas Gursky Fragment of the interview published in the cultural supplement of the Süddeutsche Zeitung, Bavaria, Germany, Munich, on Tuesday March 26, 2002, pg.
  • Andreas Gursky: Photograph Er of the Generic City Steven Jacobs

    Andreas Gursky: Photograph Er of the Generic City Steven Jacobs

    osure 2004 The Society for Photographic Education Volume 37·1 osure 2004 Volume 37·1 l Editors Note Joel Eisinger 3 Photography and Painting: The Evolution of Modern Picture Making in France c. 1860-1880 Carl Chiarenza and Alisa Luxenberg 17 The Postcards of O.S. Leeland: South Dakota Photographer Cynthia Elyce Rubin 25 Andreas Gursky: Photograph er of the Generic City Steven Jacobs 34 Contributors Publications Committee: Diana Gaston , Chair ; Steve Benson; Carol Flax, Mark Rice; Vagner veil, Whitehead , Carla Williams ; Joel Eisinger, Editor , exposure. Copy Editor: Jeanne C. Maki. Design and Layout: Noah Wenz. Editor's Note Joel Eisinger e live in an era in which , for good or painting and photography is an integral part of a Will, many of the boundaries by which long evolution, beginning in the Renaissance, of our culture had customarily oriented itself have artistic vision mediated by optical devices. They become smeared or irrelevant. A concern for this describe this vision as "camera vision ," which instability of cultural boundaries serves to unite may be understood as the assimilation by artists loosely the three essays in this issue. Steven of the visual discoveries made possible by optical Jacobs addresses the matter through a discussion devices , and eventually by photography , such that of Andreas Gursky 's photographs of the urban artists learned to see and record the world in terms (or post-urban) landscape. Jacobs explains that of these discoveries independently of photographs the shift toward globalization and post-industrial or any optical device. In their essay , Chiarenza service economies in the dominant world cultures and Luxenberg trace camera vision from Jan has brought about dramatic changes in cities that Van Eyck through Albrecht Diirer, Jan Vermeer , are, in tum, reflected in new photographic visions.
  • The UK's First Major Retrospective of Andreas Gursky Opens at the Newly

    The UK's First Major Retrospective of Andreas Gursky Opens at the Newly

    Press release Date: 24 January 2018 ​ Contact: [email protected] / 0207 921 ​ ​ The UK’s first major retrospective of Andreas Gursky opens at the newly refurbished Hayward Gallery 25 January–22 April 2018 ​ ​ Opening tomorrow, Thursday 25 January, London’s Hayward Gallery stages the first major UK retrospective of the work of acclaimed German photographer Andreas Gursky (Germany, 1955). Widely regarded as one of the most significant photographers of our time, Gursky is known for his large-scale, often spectacular pictures that portray emblematic sites and scenes of the global economy and contemporary life. This retrospective features sixty-eight of the artist’s ground-breaking photographs, from the 1980s through to eight new works which will seen be for the first time in this exhibition. Andreas Gursky also marks the beginning of the Hayward Gallery’s 50th anniversary year and is the first exhibition to take place in the Gallery following its refurbishment. For the first time ever, the gallery’s pyramid roof lights allow natural light into the spaces below. The exhibition includes some of the artist’s most well known works including Paris, Montparnasse (1993), an ​ ​ immense and iconic photograph showing a seemingly endless block of flats; and Rhine II (1999/2015) a sleek ​ ​ digitally-tweaked vision of the river as a contemporary minimalist symbol. Kamiokande (2007) featuring the ​ ​ vast underground water tank within the Kamioka Nucleon Decay Experiment, Japan; and May Day IV ​ (2000/2014) depicting hundreds of revellers at Germany’s long-running Mayday techno music festival. Often ​ employing a bird’s-eye perspective, these large-format pictures – which rival the scale of monumental paintings – boast an abundance of precisely captured details, all of which are uncannily in focus.
  • Press a Visionary Photographer Reaches a Career Pinnacle The

    Press a Visionary Photographer Reaches a Career Pinnacle The

    MARIAN GOODMAN GALLERY A Visionary Photographer Reaches a Career Pinnacle With his largest, most revealing retrospective and a major traveling exhibition, German photographer Thomas Struth's continuing evolution is on display By Carol Kino (October 6, 2017) FOCAL POINT The photographer Thomas Struth at his studio in Berlin. PHOTO: CHRISTOPHER ANDERSON FOR WSJ. MAGAZINE Among people who know him well, the German photographer Thomas Struth is renowned for the intense focus he brings to eVery detail of his work, starting with the way he creates a single photograph. In some cases, he waits for hours under the hood of a large-format camera for the right moment to take a shot, then sits there longer still for the neXt right moments. Later, he carefully eXamines each image and, before making his selects, often ventures to the site to shoot again. He's likely to have spent weeks beforehand studying visual and art historical source material. Recently Struth has taken a similarly obsessive approach to his eXhibitions, designing the architecture and refining each hanging in situ. When he walks into his career survey, which opened in May at Munich's Haus der Kunst, he immediately begins talking about the building's disquieting origins. Although the gallery has been an avant-garde stronghold for decades, it was initially constructed to promote Adolf Hitler's Vision of great Teutonic art, opening in 1937 the day before the infamous Degenerate Art exhibition, which was just down the street. As a 62-year-old German artist, Struth needed to make sure his show had "a correct relationship to German history," he eXplains.
  • PRESSKIT (Ensglish)

    PRESSKIT (Ensglish)

    PRESS KIT Press Officer : PIERRE COLLET | IMAGINE T +33 1 40 26 35 26 M +33 6 80 84 87 71 [email protected] EXHIBITION FROM 16.11.2019 TO 13.04.2020 ... et labora A THEMATIC EXHIBITION INCLUDING: PHOTOGRAPHS FROM THE RUTH AND PETER HERZOG COLLECTION WORKS BY CYPRIEN GAILLARD, ANDREAS GURSKY, MICHAEL HAKIMI, EMMANUELLE LAINÉ, YURI PATTISON, MIKA ROTTENBERG, THOMAS STRUTH, LIU XIAODONG EX-VOTOS FROM PROVENCE VINCENT VAN GOGH, FLYING FOX (1884) Exhibition Curator : Bice Curiger View of the exhibition. Photo : François Deladerrière © Fondation Vicnent van Gogh Arles Fluor Architecture View of the exhibition. Photo : François Deladerrière © Fondation Vicnent van Gogh Arles © Fluor Architecture EXHIBITION PRESENTATION p.1-2 THE CONTEMPORARY ARTISTS AND THEIR WORKS p.3-6 THE PROVENÇAL EX-VOTOS P.7 THE FONDATION VINCENT VAN GOGH ARLES p.8 PRESS PHOTOS p.9-12 PRESS RELEASE (October 2019) p.13 PRACTICAL INFORMATION p.14 The Vincent van Gogh Arles Foundation is grateful to the three institutions in which the Ruth + Peter Herzog collection is housed : the Herzog Foundation (Basel), the Jacques Herzog und Pierre de Meuron Kabinett (Basel) and the Swiss National Museum (Zurich). We warmly thank them for helping to make this exhibition possible. Jacques Herzog und Pierre de Meuron Kabinett Basel EXHIBITION PRESENTATION The thematic exhibition …et labora starts from an exploration of the collection of Ruth and Peter Herzog, which comprises more than 600,000 photographs – some anonymous, others by renowned practitioners. The one hundred or so images presented here are a mixture of pioneer photographs from the nineteenth century and those dating from the first half of the twentieth century onwards, and interrogate work in its representation and daily execution.