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Andreas Gursky [Englisch] [Gebundene Ausgabe]

Kunstmuseum Basel , Beate Söntgen , Nina Zimmer
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Gebundene Ausgabe, Oktober 2007 --  
Taschenbuch --  


Oktober 2007
Andreas Gursky (*1955 in Leipzig) gilt als einer der weltweit wichtigsten Künstler, die das fotografische Großformat als Ausdrucksmittel verwenden. Ein Hauptaugenmerk des in Düsseldorf lebenden Fotografen liegt auf der Ansammlung von Menschen und den Stätten ihrer Zusammenkunft - sei es die Handelsbörse von Tokio oder ein Massen-Rave. Bei aller realistischen Präsenz erlauben die am Computer virtuos nachbearbeiteten Totalen von Andreas Gursky durch Reduktion und Strukturierung der Bildelemente auch eine abstrakte Lesart, sie beruhen stets auf einer Wechselwirkung von Abbildhaftigkeit und Abstraktion. Die großzügig gestaltete Publikation konzentriert sich auf die jüngste Schaffensperiode des Künstlers, die im Kunstmuseum Basel zu sehen ist. Es werden insbesondere zwei neue Werkgruppen gezeigt, die neben Landschaften auch Formel-1-Rennen sowie das berühmte Arirang-Festival, ein präzise choreografiertes Massenspektakel im nordkoreanischen Pjöngjang, reflektieren.Ausstellung: Kunstmuseum Basel 20.10.2007-24.2.2008

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  • Gebundene Ausgabe: 128 Seiten
  • Verlag: Hatje Cantz Verlag; Auflage: 3 (Oktober 2007)
  • Sprache: Englisch
  • ISBN-10: 3775720197
  • ISBN-13: 978-3775720199
  • Größe und/oder Gewicht: 24 x 1,6 x 30 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 715.229 in Bücher (Siehe Top 100 in Bücher)

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Published in conjunction with the spring 2001 American retrospective at The Museum of Modern Art in New York of Gursky's work from 1984 to the present. The photographer's color images capture the world of high-tech industry, global markets, easy travel, and slick commerce around the world international stock exchanges, hotels and apartment building -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

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5.0 von 5 Sternen Grossartig 1. März 2013
Von Hi Fi Fan
Format:Gebundene Ausgabe|Verifizierter Kauf
Wer sich für Gursky interessiert, sollte diesen Band erwerben. Es ist das Buch zur Ausstellung in Basel von 2008. Neben den Ausstellungsfotos, wunderbar Boxenstopp,Ffrankfurt, Pyongyang, Kamiokande, findet man einen ausführlichen Essay zum Hintergrund und der detaillierten Erläuterung seiner wichtigsten Bilder. Hochinteressant und mit Gewinn zu lesen. Überhaupt ist Gursky als Maler mit Kamera grossartig in seinen konzeptionellen Projekten, in der die Kamera und der Computer den Pinsel ersetzt. Das Buch ist grossartig in der Präzision, mit der die Arbeiten erläutert werden.
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5.0 von 5 Sternen ***Andreas Gursky; Modern Master of Photography*** 31. Juli 2001
Von J.P. - Veröffentlicht auf
Format:Gebundene Ausgabe
First you must understand why this book was put together. Peter Galassi, the Museum of Modern Art in New York's Chief Curator in the Department of Photography made this book as a sort of large catalog to accompany the Gursky retrospective which was in May 2001. The Gursky's photos are huge, the exhibition at MOMA was huge and the book is - well, big, but other's will more than likely agree, it could be bigger especially in context to Gursky's work. (12" x 13.5")
Inside you'll find two things Gursky's photos and Peter Galassi's essay. More than likely you'll thumb through the book ogling the photos first, only to find the treasure of Peter's research about Gursky much later. Galassi's writes with authority and intellect as he discusses the "artistic contexts and origins of the work" in detail. In the preface Galassi admits that the introduction is lengthy but is only meant to encourage further study. Indeed, you are curious, you are pulled in. Here is a sample "Andreas Gursky's best pictures of the past decade knock your socks off, and they're meant to. They're big, bold, full of color, and full of surprise. As each delivers its punch, the viewer is already wondering where it came from - and will continue to enjoy the seduction of surprise long after scrutinizing the picture in detail." Galassi continues with bringing non-photo experts up to speed on the environment of the European aesthetic over the past 150 years, with much of the focus being on the 1950'6 - 60's. Fortunately attention has been paid also the Becher's, one of Andreas Gursky's mentors from the Kunstakademie (art academy), as well as the changes that had occurred in the practice of what was being taught there. Influential artists are named and noted and neatly woven into the grand picture. There is more, but for my purposes here, the result is a writing that so thoroughly saturates the history of the artist and his medium, that it is indispensable to the book as a whole. If it were only a book of slick, meticulously composed scenes on a gargantuan scale, it would be just another coffee table book; left to collect dust in some neatly arranged corner.
The discovery of Gursky's photos is a big one. (Quick note, anyone who has ever been remotely associated with graphic design will appreciate the clean lines and layout of text and photos.) Not only is the book highly readable, it looks modern. Pages 43 -186 are entirely the color plates. They are huge. They are fascinating.
I have read a variety of descriptions of Gursky's works, many of them come from very different starting points and all come to the conclusion that he is a master artist. The photos are everything from "...modestly scaled, infallibly exposed, sharply focused images..." and "focus on the recent phase of capitalism, reified leisure, consumerist fantasies and global transformation of production." His works are "complex and labor intensive process", "Olympian" in their "detached observation of setting and stilled activity," and " overwhelmingly dense image(s) rendered with astonishing visual clarity." My point being, that you cannot escape something mesmerizing, which is the view on the world only Gursky can offer. He shoots everything from alpine landscapes to stock exchange rooms, sunsets and shoe racks, rock concerts to factories, all with the same omniscient eye. The result is astonishing; it is a sucker punch. Urbanscapes, which encompass both, views of the micro and the macro, and often render a feeling of disbelief.
There is something in these photos for EVERYONE. Literally in the sense that Gursky has traveled the world to capture these scenes. Figuratively because there is something here that everyone can relate to. Above and beyond shopping for candy, watching a sunset, standing on the mezzanine of a hotel balcony, this work conjures big questions about: commerce, ultra-consumerism, mass development and cultural homogenization, the feeling of being alone in a crowd, great energy spent on insignificant things and more. The conclusions are here for you to discover.
In summary, the book is wonderful. It is eye candy and it is brain candy. In no way is the book a substitute for seeing the artwork, but if you have to take "the next best thing" surely this book is it. I highly recommend this book for students who are actively pursuing a degree or career in photography, for art historians, teachers of art or photography, and anyone interested in social - political - environmental - or spiritual commentary by a modern artist.
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5.0 von 5 Sternen At Last: -a book that does justice to Gursky's work 1. August 2001
Von Bill Hirst - Veröffentlicht auf
Format:Gebundene Ausgabe
Again and again, devotees of Gursky's work find themselves struggling to describe the sheer physical impressiveness of his prints. Pristine, perfect and awe-inspiring as they are; they ... in the viewer, challenging one to see more, to make sense of this information overload.
Previous coffee-table monographs on Gursky failed pitifully to convey the experience of viewing his finest work: such as the retrospectives at the Tate Liverpool (UK) or this latest show at MOMA NY -from which this book arises.
This MOMA book succeeds where others have failed: thanks to its designer's skill in taking portions -sometimes very small portions- of Gursky's images and placing them in the book as visual puzzles. They challenge the reader to recognise what they are, from which images -and where they belong. They also serve as an implicit yard-stick. "my God" the reader realises, "if this double page spread is only that tiny part of the whole image, I can imagine just how big and detailed the whole picture must be".
So, if you've not seen Gursky's actual prints yet, then please do: there is no substitute. But -having seen them - this is the only book that will come anywhere near to reminding you of that delightful experience.
Bill Hirst
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5.0 von 5 Sternen Oh My! 20. April 2001
Von "plastico37" - Veröffentlicht auf
Format:Gebundene Ausgabe
Walking through my neighborhood bookstore, I casually glanced at the photo books as I walked by. I usually stop and take a closer look, but lately I haven't seen any quality large format photography books, so I had my doubts. The loud and snappy color stripe on the book, combined with the mass of people, and on top of that the name Andreas Gursky, I stopped dead in my tracks. I felt my heart flutter and my knees get weak. Finally! A nice large book with insane large format work, with beautiful reproductions, and great layout!! What else would I want in a book? Well, personally, I like books that make we want to attack the world with my 4 x 5, I want to come out charging like a boxer in the first round. Not only did this book make we want to go shoot again, but it also made me think about shape, texture, content, and design. Some people think photographers don't pay much attention to those things, but in this book, it is disturbing the detail that is presented in each photograph. There is a photograph of a Dutch soccer stadium, and the crispness of the image is stunning. You can almost see individual strands of grass, you can almost see the players sweating, in other words, it is amazing. But to sum it all up in a non big word type of way, dude, buy this book. If you like books that make you do work, get this book. I am serious, you won't be disappointed. Oh Yeah!!
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5.0 von 5 Sternen A Revelation 25. April 2001
Von Nicholas Grossman - Veröffentlicht auf
Format:Gebundene Ausgabe
Every photograph in Andreas Gurskey's book is a revelation. It's not a page turner-you'll linger at length over each photograph's wealth of detail, painterly composition, and absurd landscape. The images in this book have an amazing ability to startle and provoke. They are at once humorous and full of despair, alienating and invigorating. Traveling all over the globe to capture these moments, Gurskey has created a discourse about utopiansism, mass culture, work, consumerism, nature, and modern design. While the reduced size of the photographs (in contrast to the MOMA exhibit) means they lose some of their power, the book is ordered in a way that puts the images in dialogue with each other. And it reads better than any novel I have read in recent memory.
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5.0 von 5 Sternen comprehensive 5. Februar 2005
Von Joseph Tate - Veröffentlicht auf
Format:Gebundene Ausgabe
Gursky's prints in person are astounding--words fail to capture not only their size, but their detail. This book does an excellent job of taking those gigantic prints and putting them into a manageable size. Plus, this is a comprehensive overview of Gursky's work.
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