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  • Provenance

    11 Duke Street, London

  • Exhibited

    Malmö, Rooseum, the Center for Contemporary Art, Andreas Gursky, 25 March – 14 May, 1995, n.p (another example exhibited); Kunsthalle Düsseldorf, Andreas Gursky – Photographs from 1984 to the Present, 29 August – 18 October, 1998 (another example exhibited); Kunstmuseum Wolfsburg; Fotomuseum Winterthur; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Torino, Castello di Rivoli, Museo d’Art Contemporanea and Lisbon, Centro Cultural de Belém, Andreas Gursky: Fofotgrafien 1994 – 1998, 23 May, 1998 – 2 January, 2000 (another example exhibited)

  • Literature

    M.L Syring, L. Cooke, R.Pfab, Andreas Gursky – Photographs from 1984 to the Present, Düsseldorf, 1998, pp. 38-39 (another example illustrated)

  • Catalogue Essay

    Documentary realism versus digital manipulation, modernist idealism versus postmodern skepticism, high art versus commerce, conceptual rigor versus spontaneous observation, photography versus painting: these and other antagonisms have engendered some fierce battles, but for Gursky they are all givens – not opponents but companions. Much of the grace of his art more of its contemporary torque derive from the agility with which it accommodates a wealth of apparent polarities. Gursky’s world, of course, is an invention. Part of its authority rests upon the imagination and skill with which the artist has deployed his creative license. The other part rests upon the recognition that the work elicits from the very observers it so resolutely excludes. It is Gursky’s fiction, but it is our world. P.Galassi, ‘Gursky’s World’ in Andreas Gursky, NewYork, 2001, p.41

146

Union Rave

1995
C-print in artist’s wooden frame.
164 x 275cm. (64 1/2 x 108 1/4).
This work is from an edition of six.

Estimate
£110,000 - 150,000 ‡ ♠

Sold for £132,500

Contemporary Art Evening Sale

28 Feb 2008, 7pm
London