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Published on the occasion of the 2015 exhibition at the Parrish Art Museum, this new catalogue features Andreas Gursky’s stunning landscapes, including some of his most astounding works to date. Just as painters of previous centuries found their subjects in the realities of everyday life, Andreas Gursky finds inspiration in his own spontaneous visual experience and in reports of global phenomena in the daily media. The resulting pictures, depicted here in gorgeous full-color spreads, 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. Parrish Art Museum director Terrie Sultan provides a perfect introduction to the twenty-plus works that span three decades of the artist’s career. Sultan highlights how Gursky’s worldview fuses the flux of life and nature with the stillness of metaphysical reflection, while at the same time situating his work within the world of landscape painting more generally.

Stay warm and stylish this winter with the Peuterey women's jacket. Made with technical fabric and featuring a double fur collar, this jacket is both practical and fashionable. Fabric details: 67% Cotton 33% Polyamide 100% Polyester Rabbit (Orictolagus Cuniculus) 100% REX Rabbit.

Stay warm and stylish this winter with the Peuterey women's jacket. Made with technical fabric and featuring a double fur collar, this jacket is both practical and fashionable. Fabric details: 67% Cotton 33% Polyamide 100% Polyester Rabbit (Orictolagus Cuniculus) 100% REX Rabbit.

Stay warm and stylish this winter with the Peuterey women's jacket. Made with technical fabric and featuring a double fur collar, this jacket is both practical and fashionable. Fabric details: 67% Cotton 33% Polyamide 100% Polyester Rabbit (Orictolagus Cuniculus) 100% REX Rabbit.

In shrink wrap. Looks like an interesting title!

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.

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,

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 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.

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.

"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.

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.

While researching a biography of Solomon Gursky, the blacksheep scion of an influential Jewish family in Montreal, Moses Berger becomes obsessed with uncovering the secret and momentous life of his subject

MoMA, 2001. Trade paperback in VG condition; a nice clean copy.

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,

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.

The first substantial monograph of Andreas Gursky’s work since 1984 this series of large-format color photographs depicts vast panoramic scenes: entire cityscapes, endless horizons, multi-floored office buildings, huge factory corridors and crowded public spaces. Taken from a distance, often with a bird’s eye view, they represent more than a set of photographs of various locations—rather Gursky’s work reflects both the art forms and the everyday aesthetics of 20th-century society. Many photographs are allegories, offering a cultural critique of man’s role in nature, technology, art and society. Other resemble abstract paintings, in which Gursky applies a number of formal elements, such as light, composition and form, to convey a mood or subtle message. In their size and scope, in their reflective mood and social commentary, and in their many layers of meaning and interpretation, these exquisitely reproduced portraits of interior and exterior spaces display the qua! lities that have made Andreas Gursky one of the most respected landscape photographers of his generation.

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.

Ex-Library copy with typical library marks and stamps. Shelf and handling wear to cover and binding, with general signs of previous use. Wear commensurate with age and use. Clean unmarked copy. Light bumping visible to corners of boards and ends of spine strip. Light scuffing and smudging across boards and spine strip. Secure packaging for safe delivery. 3.35