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Following the 2010 exhibition at Gagosian Gallery Beverly Hills, this magnificent set of slipcased books captures the grandness and lushness of the epic photographs of Andreas Gursky, one of the world’s greatest living photographers. In these new works, Gursky demonstrates that a photographer can make or construct--rather than simply take--photographs about modern life and produce them on the scale of epic painting. Just as history painters of previous centuries found their subjects in the realities of everyday life, he seeks inspiration in his observations of the human species in the world, whether firsthand or via reports of global phenomena in the daily media. The resulting pictures have a formal congruence deriving from a bold and edgy dialogue between photography and painting, empirical observation and artfulness, conceptual rigor and spontaneity, representation and abstraction. In pursuit of his aim to create "an encyclopedia of life" Gursky's world view fuses the flux of reality with the stillness of metaphysical reflection. From initially using the computer as a retouching tool, he began exploring its transformative potential, sometimes combining elements of multiple shots of the same subject into an intricate yet seamless whole, at other times barely altering the image at all. Over time his subjects have expanded to map and distill the emergent patterns and symmetries of a globalized world with its consensual flows and grids of data and people, architecture, and mass spectacle. In the new Ocean series, with their darkly nuanced surfaces, Gursky has worked to reconcile the division between the machine eye and the human eye, continuing the debates and practices begun in the nineteenth century regarding photography and the issue of artistic expression versus objective science.

Following the 2010 exhibition at Gagosian Gallery Beverly Hills, this magnificent set of slipcased books captures the grandness and lushness of the epic photographs of Andreas Gursky, one of the world’s greatest living photographers. In these new works, Gursky demonstrates that a photographer can make or construct--rather than simply take--photographs about modern life and produce them on the scale of epic painting. Just as history painters of previous centuries found their subjects in the realities of everyday life, he seeks inspiration in his observations of the human species in the world, whether firsthand or via reports of global phenomena in the daily media. The resulting pictures have a formal congruence deriving from a bold and edgy dialogue between photography and painting, empirical observation and artfulness, conceptual rigor and spontaneity, representation and abstraction. In pursuit of his aim to create "an encyclopedia of life" Gursky's world view fuses the flux of reality with the stillness of metaphysical reflection. From initially using the computer as a retouching tool, he began exploring its transformative potential, sometimes combining elements of multiple shots of the same subject into an intricate yet seamless whole, at other times barely altering the image at all. Over time his subjects have expanded to map and distill the emergent patterns and symmetries of a globalized world with its consensual flows and grids of data and people, architecture, and mass spectacle. In the new Ocean series, with their darkly nuanced surfaces, Gursky has worked to reconcile the division between the machine eye and the human eye, continuing the debates and practices begun in the nineteenth century regarding photography and the issue of artistic expression versus objective science.

A Japanese power plant, dilapidated slums, the patterned facades of an apartment complex in Paris--in the work of German art photographer Andreas Gursky, born in 1955 in Leipzig, both private dwellings and the domains of industrial and political power are made into sometimes awe-inspiring and always overpowering forces of urban life. Gursky's signature mix of epic sweep and extreme detail is ideally suited to the portrayal of large-scale architecture, eliciting its most salient features: The capacity to dwarf, to impress, to alienate and to daunt. Where many of us will habitually blank out architectural environments which cannot be accommodated by the naked eye, Gursky's approach is to photograph them in order to render them comprehensible: "My preference for clear structures is the result of my desire, perhaps illusory, to keep track of things and maintain my grip on the world." Architecture is a collection of breathtaking images by the world-famous photographer, taken between 1988 and the present day, and treating all aspects of architectural structure, from the inside out. Each of the 75 color photographs is accompanied by commentary by renowned German authors Aleida Assmann, Jan Assmann, Elisabeth Bronfen, Sonja Fessel, Paul Nizon, Alfred Nordmann, Mirjam Schaub, Rudolf Schmitz, Monika Schmitz-Emans, Peter Schneemann and Thomas Zaunschirm. The resulting conjunction of text and image attractively demonstrates the depth and breadth of Gursky's concept of architecture.

The big, bold, seductive and surprising color photographs of German photographer Andreas Gursky set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism and slick commerce. Tracking the zeitgeist from his native Germany to such far-flung places as Hong Kong, Brasilia, Cairo, New York, Shanghai, Stockholm, Tokyo, Paris, Singapore and Los Angeles, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents and techniques. Created in collaboration with the artist, this oversize book surveys the fullness of his work to date with gorgeous color plates, generous two-page details, and a wealth of supporting illustrations. The first in-depth study in English of Gursky's art, this book was published in conjunction with a major retrospective at The Museum of Modern Art, New York.

A Japanese power plant, dilapidated slums, the patterned facades of an apartment complex in Paris--in the work of German art photographer Andreas Gursky, born in 1955 in Leipzig, both private dwellings and the domains of industrial and political power are made into sometimes awe-inspiring and always overpowering forces of urban life. Gursky's signature mix of epic sweep and extreme detail is ideally suited to the portrayal of large-scale architecture, eliciting its most salient features: The capacity to dwarf, to impress, to alienate and to daunt. Where many of us will habitually blank out architectural environments which cannot be accommodated by the naked eye, Gursky's approach is to photograph them in order to render them comprehensible: "My preference for clear structures is the result of my desire, perhaps illusory, to keep track of things and maintain my grip on the world." Architecture is a collection of breathtaking images by the world-famous photographer, taken between 1988 and the present day, and treating all aspects of architectural structure, from the inside out. Each of the 75 color photographs is accompanied by commentary by renowned German authors Aleida Assmann, Jan Assmann, Elisabeth Bronfen, Sonja Fessel, Paul Nizon, Alfred Nordmann, Mirjam Schaub, Rudolf Schmitz, Monika Schmitz-Emans, Peter Schneemann and Thomas Zaunschirm. The resulting conjunction of text and image attractively demonstrates the depth and breadth of Gursky's concept of architecture.

Famed worldwide for his epically proportioned photographs, Andreas Gursky is one of very few contemporary artists able to represent cultures of excessive information--which he does through images of supermarket wares, crowds, trash, architecture and nature. The extreme detail of Gursky's final image--achieved by digital restructuring--produces a vertiginous effect on the viewer, as it oscillates between total representation and total abstraction. It could be said that Gursky updates the eighteenth-century sublime for our times.This publication surveys the artist's most recent creations, on display at the renowned Kunstmuseum Basel throughout the winter of 2007/2008. Two new groups of works in particular, one on Formula 1 races and the other on the famous Arirang Festival (a closely choreographed mass spectacle in North Korea's capital of Pyongyang), are gathered here.

A new book from sensational artist Andreas Gursky is always a publishing event. This stunning, large-format exhibition catalog from Gursky's recent solo show in Munich is made up of works mostly created since his Museum of Modern Art show in 2001.Gursky's photos exploit the visual codes of a globalized world. They combine collective memories into rhythmic images that appear familiar and intelligible to viewers because the situations have been stored in their subconscious. But the photographer's slightly elevated vantage point gives these situations an unfamiliar feeling. Viewers float above the objects, observing from an idealized perspective they are usually denied. Patterns and repetition become obvious, details once overlooked become prominent, and situations usually considered banal take on the air of a medieval miniature, an Old Master, or an abstract painting.Since the early 1990s, Gursky has photographed his motifs using both analog and digital methods, and then composed his final image using digital technology. Gursky's works, therefore, are not classical documentary photographs, but are hyper-realistic fictions based on facts. Reality can only be portrayed when one constructs it, says the photographer. With their paradoxical character and idealized composition, Gursky's works simultaneously express reality and observe it. Includes a critical essay by curator Thomas Weski and a contribution titled In Yankee Stadium by American novelist Don DeLillo. An unexpected feature is five separate cover designs made available for this publication; each cover takes a detail from one of the noted Korean Stadium works,

Acceptable/Fair condition. Book is worn, but the pages are complete, and the text is legible. Has wear to binding and pages, may be ex-library. 1

Pictorial boards. Book and loose sheet in cardboard slipcase which has slight shelfwear.

In shrink wrap. Looks like an interesting title!

This comic novel won the 1990 Commonwealth Writers Prize and was shortlisted for the Booker Prize. Moses Berger decides to write a history of the wealthy Gursky family in Canada, and traces it back to the mysterious Solomon's grandfather - a forger, Arctic explorer and self-styled rabbi.

Andreas Gursky's Bangkok series depicts the dark, moving waters of Thailand's Chao Phraya river, whose shimmering surface possesses the qualities of abstract painting. Indeed these photos are reminiscent of the work of modernist abstractionists such as Hans Arp, but they also echo the patterns of military camouflage. Seductively beautiful at first glance, it is only slowly that the detritus of civilization floating on the surface of the river becomes recognizable--the evidence of an ominous, threatening reality moving across colorful reflections. Gursky thus alludes to the ecological problems that jeopardize Bangkok, which, shortly after these images were made, contributed to the widespread flooding that devastated many areas in Thailand.

"In all eras there have been artists who have aspired to encyclopedic summation of the world, to find a form to accommodate the mess," as Samuel Beckett once put it. The Renaissance marked the juncture at which it became impossible for any one person to have read every book in existence (just as books became widely available for the first time, ironically); today it would be a feat even to count the number of toothpastes in your average grocery store. Andreas Gursky's photographs are merciless in their vertiginous will to make every last tube of toothpaste count, to compel every constituent into legibility. His optical fanaticism is not an effect of specific consumerist critique so much as a desire to set before the eye what was deemed too much for the mind, pressing the extreme surfeit of the world's contents against its limits. For this volume, Gursky has chosen more than 150 works from his fund of photographs, reaching back to his student days at the Folkwang Hochschule Essen and his studies with Bernd and Hilla Becher at the Kunstakademie Düsseldorf. The earliest exposures here include the Desk Attendants series and other unpublished photographs, and the most recent images were conceived especially for the book. Every single exposure in Gursky's encyclopedic morphology is a vital piece in the puzzle, which, over the course of his 28-year career, has amounted to an encyclopedia of the unencompassable.

This comic novel won the 1990 Commonwealth Writers Prize and was shortlisted for the Booker Prize. Moses Berger decides to write a history of the wealthy Gursky family in Canada, and traces it back to the mysterious Solomon's grandfather - a forger, Arctic explorer and self-styled rabbi.

The big, bold, seductive, and surprising color photographs of German photographer Andreas Gursky (b. 1955) set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism, and slick commerce. This large-format volume—published in conjunction with a major retrospective at the Museum of Modern Art, New York—presents the first in-depth study in English of Gursky’s art. The most adventurous of the celebrated students of influential German photographers Bernd and Hilla Becher, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents, and techniques. Created in collaboration with the artist, this oversize book surveys the fullness of his work to date with gorgeous colorplates, generous two-page details, and a wealth of supporting illustrations.

Like New condition. Great condition, but not exactly fully crisp. The book may have been opened and read, but there are no defects to the book, jacket or pages. 2.94

Here, Parkett showcases the work of four artists whose work foregrounds the distance between the observer and the thing observed. The observer in question may be simultaneously the artist and the viewer, and the observations may concern the world, the society or the self--but in each case, these artists subvert the laws of objectivity versus subjectivity, conceptualism versus realism, the verbal versus the visual. Cultural nomads or archaeologists of information, Lothar Baumgarten's installations, language and other systems of categorization are turned inside out, revealing the anxieties such nomenclature is designed to suppress. For Tiravanija, however, the medium of exchange is not words but consumables, whose traces tell us who we are. In the epic everyday spaces of Andreas Gursky's photographic spaces, as much as in the extraterrestrial content of Vija Celmins' pictures, the universal and the mundane are held in taut suspension, resulting in images that remain simultaneously intimate and enigmatic. Other features of this special issue include Lynne Cooke on “Micromegas,” Alexandre Melo on peripheries, Jason Simon on Mark Dion and more.

First edition, first printing. Hardcover. Photographically illustrated paper-covered boards, no dust jacket as issued. 128 pp., with 26 four-color plates and numerous black and white illustrations. 11 1/4 x 9 1/2 inches. Includes texts (in German) by Sonja Claser, Ludger Derenthal, Gerlinde Geisler, Roman Ronald Gerhold, Kai-Uwe Hemken, Simone Holt, Daniel Marzona, Monika Steinhauser, Annette Urban, Markus Weckesser and biographical notes.

New! This book is in the same immaculate condition as when it was published 2.94

112 S. Hardcover. Gr. 8°. Sauberes Exemplar ohne Stempel und Anstreichungen. Zahlreiche Abbildungen und Tafeln. Sehr gut erhalten. Sprache: deu