Siemens Karlsruhe

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  • Provenance

    Galerie Hussenot, Paris
    Private Collection, France

  • Exhibited

    Zürich, Kunsthalle Zürich, Andreas Gursky, 28 March–24 May 1992 (another example exhibited)
    Hamburg, Deichtorhallen, Andreas Gursky, Fotografien 1984–1993, 4 February–10 April 1994, then travelled to Amsterdam, de Appel Arts Centre (20 May–4 July 1994) (another example exhibited)
    Bregenz, Kunsthaus Bregenz, Lucinda Devlin, Andreas Gursky, Candida Höfer, Räume, 9 April–27 June 1999 (another example exhibited)
    New York, The Museum of Modern Art, Andreas Gursky, 4 March–15 May 2001 (another example exhibited)

  • Literature

    Andreas Gursky, exh. cat., Kunsthalle Zürich, Zürich, 1992, p. 13 (illustrated)
    Andreas Gursky, Fotografien 1984–1993, exh. cat., de Appel Arts Centre, Amsterdam, 1994, p.119 (illustrated)
    Lucinda Devlin, Andreas Gursky, Candida Höfer, Räume, exh. cat., Bregenz: Kunsthaus Bregenz, 1999, pp. 30–31 (illustrated)
    Andreas Gursky, exh. cat., The Museum of Modern Art, New York, 2001, pp. 68–69 (illustrated)
    Jean Prouvé, exh. cat., Galerie Patrick Seguin & Sonnabend Gallery, 2008, p. 166 (illustrated)

  • Catalogue Essay

    “Vision is an intelligent form of thought.” ANDREAS GURSKY

    “Sometimes the essence of a societal moment is well captured by an individual artist. Such is the case for German photographer Andreas Gursky, whose work […] captures much of the contemporary essence of globalization. Whereas the forms of modernity seem to be imposed forcibly on the world in the work of the pioneers of modernism, they return to us in Gursky’s photographs from a world already fully modernized. We experience modernity not only as viewers of these images, but also through identification with our surrogates – the mostly anonymous human subjects – who are depicted.

    Gursky’s photographs are high-tech productions: they are huge, saturated with colour, and call to mind a hyper-naturalism reminiscent of the heightened reality of cinema. Digital technologies have enabled Gursky to create a vantage point that is more comprehensive than what is available to the unaided human eye, both wider in angle and deeper in focus. The images combine the artifice of painting with the naturalism of photography. Their formalism and coolness of approach avoid confusion with all but the best commercial photography. (Gursky was once a commercial photographer.) They refuse advocacy or direct statement, except perhaps in some implicit advocacy of the art of architecture.”
    (Michael Rustin, ‘Andreas Gursky – Global Photographer’, Dissent Magazine, Summer 2001)

30

Siemens Karlsruhe

1991
colour coupler print
175.5 x 205.5 cm (69 1/8 x 80 7/8 in)
Signed and numbered '2/4' on the reverse. This work is from an edition of 4.

Estimate
£120,000 - 180,000 

sold for £121,250

Contemporary Art Evening

28 June 2012
London