Andreas Gursky Biography
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Exhibition Checklist
Updated Wednesday, September 7, 2016 | 3:35:37 PM Last updated Wednesday, September 7, 2016 Updated Wednesday, September 7, 2016 | 3:35:37 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 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. File Name: 3993-001.jpg 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. -
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
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 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
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. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Postleitzahl Gemeinde Standort 46519 Alpen Krefeld 47551
Postleitzahl Gemeinde Standort 46519 Alpen Krefeld 47551 Bedburg Hau Krefeld 50181 Bedburg Erft Leverkusen 50126-50129 Bergheim Leverkusen 51427-51469 Bergisch Gladbach Leverkusen 59192 Bergkamen Dortmund 51702 Bergneustadt Leverkusen 46395-46399 Bocholt Duisburg 44787-44894 Bochum Dortmund 59199 Bönen Dortmund 46236-46244 Bottrop Gelsenkirchen 41379 Brüggen Krefeld 50321 Brühl Leverkusen 51399 Burscheid Leverkusen 44575-44581 Castrop-Rauxel Dortmund 45711 Datteln Dortmund 46335-46539 Dinslaken Duisburg 41539-41542 Dormagen Leverkusen 46282-46286 Dorsten Gelsenkirchen 44135-44388 Dortmund Dortmund 47051-47279 Duisburg Duisburg 40210-40629 Düsseldorf Leverkusen 50189 Elsdorf Leverkusen 46446 Emmerich Duisburg 51766 Engelskirchen Leverkusen 50374 Erftstadt 1 Leverkusen 41812 Erkelenz Krefeld 40699 Erkrath Leverkusen 45127-45359 Essen Gelsenkirchen 50226 Frechen Leverkusen 58730 Fröndenberg Dortmund 47608 Geldern Krefeld 45879-45899 Gelsenkirchen Gelsenkirchen 45964-45968 Gladbeck Gelsenkirchen 47574 Goch Krefeld 47929 Grefrath Krefeld 41515-41517 Grevenbroich Leverkusen 51643-51647 Gummersbach Leverkusen 42781 Haan Leverkusen 59077 Hamm Dortmund 46499 Hamminkeln Duisburg Postleitzahl Gemeinde Standort 45225-45229 Hattingen Gelsenkirchen 42579 Heiligenhaus Gelsenkirchen 58313 Herdecke Dortmund 44623-44653 Herne Dortmund 45699-45701 Herten Gelsenkirchen 40721-40724 Hilden Leverkusen 59439 Holzwickede Dortmund 41836 Hückelhoven Krefeld 42499 Hückeswagen Leverkusen 46569 Hünxe Duisburg 50354 Hürth Leverkusen 46419 Isselburg Duisburg 47661 Issum -
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). -
DISCOVER Krefeld Leisure Planner Photo Credits – Cover, Front: Krefeld-Ostwall / „Luther-Linsen“
DISCOVER KREFELD Leisure planner Photo credits – cover, front: Krefeld-Ostwall / „Luther-Linsen“. Photo credits – contents, page 3, from left to right, top to bottom: Bridge over the Rhine. Photo © Ralf Krieger Show & Tell. Works by Richard Hamilton, Andy Warhol; view of installation at Haus Lange Museum 2015 © R. Hamilton. All Rights Reserved / VG Bild-Kunst, Bonn 2016; The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York Archer. Photo © Arbeitsgemeinschaft Flachsmarkt Krefeld in Profile 04 Museums 06 Landscape of Krefeld. Haus Lange Museum – view from the west. Photo © Volker Döhne Egelsberg Mill. Dining al fresco at Café Liesgen. Shopping by Candlelight. „Fado / Bolero“. Photo © Matthias Stutte Cheering fans of the Krefeld Pinguine. Flachsmarkt. Photo © Arbeitsgemeinschaft Flachsmarkt Friedrichsplatz from above. Photo © Dr. Baoquan Song History 14 Nature 20 Architecture 26 Leisure 36 Culinary 48 Shopping 52 Entertainment 58 Sports 68 Dates and Events 74 Accommodation & Directions 78 KREFELD IN PROFILE Innovative Architecture WITH THE SLOGAN “CITY OF VELVET Today “velvet and silk” are evident primarily in the city’s extra- AND SILK”, KREFELD CONNECTS ordinary architectural heritage. Two prominent examples are the villas designed by the avant-garde architect Ludwig Mies DIRECTLY TO ITS TEXTILE HISTORY: van der Rohe in the 1920s for the silk industrialists Lange FINDING SHELTER IN KREFELD IN and Esters. In the international architectural scene, the names THE 17TH CENTURY, MENNONITE Mies van der Rohe and Krefeld are inextricably linked, but REFUGEES BESTOWED THE CITY thanks to the historical success of the velvet and silk, other WITH UNPRECEDENTED PROS- architects including Biebricher, Pölzig and Eiermann also PERITY THROUGH THEIR SILK- contributed to Krefeld’s particular flair as a city of architecture. -
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. -
Sonstige Veranstalter
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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