Andreas Gursky - Contemporary Art Part I New York Thursday, November 15, 2007 | Phillips
  • Provenance


    Saatchi Collection, London; 11 Duke Street, London; Private collection, Europe

  • Exhibited


    NewYork, Matthew Marks Gallery, Andreas Gursky, November 15, 1997 - January
    3, 1998 (another example exhibited); Kunsthalle Düsseldorf, Andreas Gursky — Photographs
    from 1984 to the Present, August 29 - October 18, 1998 (another example exhibited);
    KunstsmuseumWolfsburg; FotomuseumWinterthur; London, Serpentine Gallery; Edinburgh,
    Scottish National Gallery of Art; Castelli di Rivoli, Museo d’Arte Contemporanea; and
    Lisbon, Centro Cultural de Belém, 1998, Andreas Gursky - Fotografien 1994 - 1998 (another
    example exhibited); NewYork, Museum of Modern Art, Andreas Gursky, March 4 - May 15,
    2001 (another example exhibited); Donaueschingen, Fürstenberg Sammlungen, Ahead of the
    21st Century: the Pisces Collection, June 2002 - October 2004

  • Literature


    R. Smith, “Art In Review,” The New York Times, December 19, 1997; R. Rugoff,
    “World Perfect Andreas Gursky,” Frieze Magazine, November - December, 1998; L. Cooke, R.
    Pfab, and M. Louise Syring, eds., Andreas Gursky — Photographs from 1984 to the Present,
    Düsseldorf/NewYork, 1998, p. 23 (illustrated); V. Görner, U. Grosenick, and Kunstmuseum
    Wolfsburg, eds., Andreas Gursky - Fotografien 1994 - 1998,Wolfsburg, 1998, p. 75 (illustrated);
    The Museum of Modern Art, ed., MoMA Highlights, NewYork, revised 2004, originally
    published 1999, p. 150; U. Grosenick and B. Riemschneider, eds., Art at the Turn of the
    Millennium, Cologne, 1999, p. 208 (illustrated); M. Steinhauser, ed., Anicht Aussicht Einsicht,
    Dusseldorf, 2000, p. 85 (illustrated); A. Gursky, “The Big Picture - Interpretation of Andreas
    Gursky,” Artforum, January, 2001; P. Galassi, ed., Andreas Gursky, NewYork, 2001, p. 161
    (illustrated); J. M. Colland, “Andreas Gursky Macroscopie,” Beaux Arts Magazine, No. 201,
    February, 2001, p. 56 (illustrated); J. Zeamen, “Humanity as an Abstract Pattern: Gursky
    Sees aWorld of Abstract Pattern,” The Record, March 16, 2001, n.p. (illustrated); A. Long,
    “What You See,” Departures, March / April, 2001, n.p. (illustrated); U. Grosenick, ed., Ahead
    of the 21st Century: The Pisces Collection, Cologne, 2002, no. 64, p. 89 (illustrated); J. Bell,
    “Profile: Andreas Gursky In aWorld of His Own,” Rangefinder Magazine, September, 2004; K.
    Varneda, Pictures of Nothing: Abstract Art Since Pollock, Princeton, 2006, no. 342 (illustrated)

  • Catalogue Essay


    For all the panache of the finished product, however, Gursky's art has arisen
    from the restless, risky process of experiment, in which devil-may-care
    daring and naive curisoity mingle with sophisticated calculation and alert
    scrutiny of other art. Part of the achievement, and part of the challenge and
    pleasure of contemplating it, is that what first strikes us as a polished
    signature style, under strict control, in fact draws upon a great diversity of
    motives, currents, and methods.
    P. Galassi, "Gursky's World," Andreas Gursky, NewYork, 2001, p. 9

38

Times Square, N.Y.

1997
C-print in artist’s wooden frame.
73 1/4 x 98 1/4 in. (186.1 x 249.6 cm).
Signed, titled and dated “Times Square, N.Y. ’97 Andreas Gursky” and numbered of six on a label adhered to the reverse. This work is from an edition of six.

Estimate
$300,000 - 400,000 

Contemporary Art Part I

15 Nov 2007, 7pm
New York