Driven by an interest and insight into ‘the way that the world is constituted’, as well as what he describes as ‘the pure joy of seeing’, Gursky makes photographs that are not just depictions of places or situations, but reflections on the nature of image-making and the limits of human perception. Often taken from a […]
The Rhine II, 1999 There is something very straightforward about Andreas Gursky’s photographs. It is as though he holds up a peopled landscape or a building or a workplace for our inspection, saying simply, ‘here it is’. The Iron Cage of Boredom By Julian Stallabrass There is something very straightforward about Andreas Gursky’s photographs. […]
Sammlung Goetz, Munchen, 1994 Ruff’s work is based on a critical study of the nature and history of photography. To his mind, the reputed objectivity of photography has always been suspect, and electronic processing is no less manipulative than the subjective selection made by the person looking through the lens. By Philip Ursprung, text excerpt […]
As soon as the technique is available, Gursky proceeds to the digital manipulation of the image. By Stefan Beyst INTRODUCTION After the big retrospective in the MoMA 2001, a new big show in the Munich ‘Haus der Kunst’ is dedicated to the photographer whose ’99 cent II Diptychon’ (1999) has recently been auctioned at Sotheby’s […]
Meet Jeff Wall In presence of Joël Benzakin and Hans De Wolf Monday 23.05.2011 19:30 Centre for Fine Arts Rencontre avec Jeff Wall en présence de Joël Benzakin et Hans De Wolf Lundi 23.05.2011 19:30 Palais des Beaux-Arts Ontmoeting met Jeff Wall In aanwezigheid van Joël Benzakin en Hans De Wolf Maandag 23.05.2011 19:30 Paleis […]
Executed in 1991, Andreas Gursky’s New York Stock Exchange is one of the earliest examples and, at the time, largest of Andreas Gursky’s seminal series of photographs of global stock exchanges which he continues to this day. The original inspiration and philosophy for the series derived from the stock market collapses of the late […]
Episode #108: Florian Maier-Aichen likens his use of infrared film to an in-between state, discussing photography’s role in picturing the American West and its ability to confound past and present. Alternately romantic, cerebral, and unearthly, Florian Maier-Aichen’s digitally altered photographs are closer to the realm of drawing and fiction than documentation. He embraces difficult techniques, […]
“There is a dawning awareness that you feel good in this place. Something here makes you attentive, brings you to an awakened state. But you can’t know that beforehand.” Interview by Constance Sullivan, from Creating A Sense of Place, Smithsonian Institution Press, 1990 CS: Why do you choose to photograph a particular place? Why the Cape? […]