Create your first list.

A way to share and manage lots.

  • Provenance

    Andreas Gursky Studio, Dusseldorf; Private collection, Germany

  • Exhibited

    New York, Matthew Marks Gallery, Andreas Gursky, 4 December, 1999 –15 January, 2000 (another example exhibited)

  • Catalogue Essay

    In 1999, Gursky returned to his original idea, photographing details of paintings by Constable and van Gogh (Untitled X and Untitled XIV, respectively), perhaps not incidentally two of our most famous nature painters. The artist blew up the passages by a factor of at least twenty; the paintings' materiality comes into focus as the surface images lose resolution, further abstracting already cropped and isolated images.That is to say, we can hardly tell what these paintings are ‘of'. This diffusion into abstraction seems to operate as a metaphor for the materiality of the photograph, the way that photographic images reveal either grain, in straight photography, or pixels, in digital photography,when sufficiently enlarged.
    (K. Siegel, ‘Consuming Vision', Art Forum, January, 2001)
    The discourse around Andreas Gursky tends to get trapped in an outdated modernist impulse to define a medium by its physical properties. Because his monumental color photographs are digitally manipulated, they must be not photographs but "photographic paintings." But it might be more useful to consider Gursky's work in terms of effect rather than category.
    (M. Sundell, ‘Andreas Gursky – photographer', Art Forum, March 2002)
     

33

Ohne Titel XI (Untitled XI)

1999
Cibachrome print in the artist's wooden frame.
274 x 206 cm. (107 7/8 x 81 1/8 in).
This work is from an edition six. Titled and dated ‘o.T XI ‘99' and numbered of six on the reverse.

Estimate
£120,000 - 180,000 

Sold for £133,250

Contemporary Art Evening Sale

12 Feb 2009, 7pm
London