Why andreas gursky

Ibiza , Mobile Nr 2 , Bangkok IX , Ratingen , Gary Nader Fine Art. Brasilia Plenarsaal II , Galleri K. Theben West , Mai 36 Galerie. Tote Hosen II , As images keep getting faster and smaller, what he has always cared most about is bigness for its own sake. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. Private View Photography.

Andreas Gursky: The bigger the better? Share using Email. By Jason Farago 6th November Jason Farago thinks not. School photos Andreas Gursky was born in in Leipzig, came to West Germany as a child, and rose to prominence as a photographer in the late s and early s — not, it must be said, on his own. Large color photographs decorate; small black-and-white photographs don't — Susan Kismaric.

Social media has obviated the need for anyone to print an image at all. Infinity Mirror Rooms. Diversity Apprenticeship Program. Andreas Gursky Leipzig, former East Germany. Artist Bio Andreas Gursky is perhaps the best-known member of a loose association of German artists under the tutelage of the conceptual photographers Bernd and Hilla Becher. By Andreas Gursky in the Collection.

Andreas Gursky, Chicago Board of Trade I. Untitled II Sunset. Tote Hosen. I just felt compelled. It was pure intuition. Only when I got back home and put together the first contact sheet did I realise what I had. I saw immediately that pattern, that pictorial density, that industrial aesthetic. This image became an important piece for me, a turning point. It opened up a new sense of possibility, stylistically and thematically.

It was the balance between great scale and a huge amount of sharp detail. These are things I went on to develop. That same year, I made an almost monochrome view of innumerable men in black suits and white shirts on the trading floor of the Tokyo Stock Exchange. This was followed by a similarly large-scale image of the Siemens factory in Karlsruhe, Germany, with workers obscured by countless cables, boxes and things. Salerno, with its flattened composition and repetitions, made both those images possible.

In the early s, I began to work digitally, combining shots, excising certain details, repeating others. The final works were no longer simple straightforward shots, like Salerno, but constructed images.