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  • Exhibited

    Kunstmuseum Wolfsburg; Fotomuseum Winterthur; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Castello de Rivolo, Museo d’Arte Contemporanea; and Lisbon, Centro Cultural de Belém, Andreas Gursky: Fotografien 1994-1998, January 1994 - December 1997

  • Literature

    V. Gorner and U. Grosenick, eds., Andreas Gursky: Fotografien 1994-1998, Wolfsburg, 1998, pl. 1, p. 3 (illustrated)

  • Catalogue Essay

    In the work that Gursky did present to the world in the late 1980s, the mostsignificant development was the radical reduction of the antlike multitude of group leisure to a single figure, or just a few. The shift decisively altered the viewer’s relationship to the image, transforming detached scrutiny of an undifferentiated crowd into a sympathetic identification with a solitary being, who is dwarfed by the expanse of nature and now quite often by man’s overarching creations as well. Gursky’s posture of reserve was now colored with romantic feeling, and critics have eagerly cited the affinity between his new work and the revered imagery of Caspar David Friedrich [Figure], patron saint of German Romantic landscape painting.P. Galassi, Andreas Gursky, NewYork, 2001, p. 25


Düsseldorf Flughafen II


C-print in artist’s wooden frame.

73 x 91 3/4 in. (185.4 x 233 cm).

Signed, titled, and dated “Flughafen Dusseldorf II ‘94 Andreas Gursky” and numbered of six on a label adhered to the reverse.This work is from an edition of six.

$200,000 - 300,000 

Sold for $217,000

Contemporary Art Part I

15 May 2008, 7pm
New York