I was really looking forward to this which usually sets off an alarm (“you’ll be disappointed!”) Far from it – a really inspiring show, a delightfully inclusive overview of Gursky’s career. It was great to see some of his early work from the 80s and to see his latest work from last year, as well as ‘the greatest hits’ (which, mostly, really were great!)
Personal favourites: ‘Montparnasse’ 1993 was incredible to see at this scale, the detail and untold, existential narratives within it were really powerful. ‘Toyota / Toys ‘r’ Us’ was super minimal, bleak + hilarious at the same time,. Wonderful!
It was great to see Solferino from 1990.
The ‘breakthrough image where he first got his ‘mojo’.
Personal favourites: ‘Montparnasse’ 1993 was incredible to see at this scale, the detail and untold, existential narratives within it were really powerful. ‘Toyota / Toys ‘r’ Us’ was super minimal, bleak + hilarious at the same time,. Wonderful!
It was great to see Solferino from 1990.
The ‘breakthrough image where he first got his ‘mojo’.
Solferino 1990
I was just telling students this week that sometimes you just take one photo which can utterly change your direction as a photographer. This was one of those (and a superb photo – as Gursky describes it the foreground and background of equal importance – in his word “democratic”)
Some images I wasn’t so taken with (as you’d expect.) Not so keen on the recent Pyongyang images and also a shot of a cattle ranch felt a bit too similar to the epic photography of Ed Burtynsky, which I’m not that keen on – I’m with Geoff Dyer* on that one, Burtynsky’s a bit too stadium rock, lacking in subtlety / intimacy. Sorry, don’t have an image for this one.
* essay, 'Edward Burtynsky' from 'Working the Room: Essays' by Geoff Dyer (2010)
Some images I wasn’t so taken with (as you’d expect.) Not so keen on the recent Pyongyang images and also a shot of a cattle ranch felt a bit too similar to the epic photography of Ed Burtynsky, which I’m not that keen on – I’m with Geoff Dyer* on that one, Burtynsky’s a bit too stadium rock, lacking in subtlety / intimacy. Sorry, don’t have an image for this one.
* essay, 'Edward Burtynsky' from 'Working the Room: Essays' by Geoff Dyer (2010)
Rhein II, 1999
But seeing ‘Rhein II’ 1999 ‘live’ was an incredible experience. I felt surprisingly moved by it – possibly a weird response to something so minimal! The scale of it in the space was really impressive. There was a quote (in the exhibition) from artist Barnett Newman that encounters with artworks were no different from meeting another person and that both parties could be changed by the experience.
It was great to see it large scale and also to be able to have a close-up view of the finer details – usually missing from books, google images, my own lectures etc. A lovely orange plastic bottle, litter in the grass and a set of mysterious steps leading to the sky!
I felt a strong affinity and connection with this image – probably a mutual love of minimalism, but also the complexity within that.
It was great to see it large scale and also to be able to have a close-up view of the finer details – usually missing from books, google images, my own lectures etc. A lovely orange plastic bottle, litter in the grass and a set of mysterious steps leading to the sky!
I felt a strong affinity and connection with this image – probably a mutual love of minimalism, but also the complexity within that.
Les Mées, 2016
Despite that, the photo I had the strongest response to was “Les Mées” from 2016. I actually had a visceral, physical response to this work – it literally took my breath away. Like a 21st century version of the 19th century ‘sublime’ – a view of awe mixed with terror! The pixel like edges of the solar farm were incredibly eloquent. Very powerful!
I always encourage students to explore the experiential in viewing work in the real (i.e. not mediated by book or screen) and this exhibition really was an object lesson in this. Our students were generally really impressed too, which was great to witness.
And time for some jokes too – I spotted my colleague Becky Goddard laughing at (or rather with) an early photo of a grey carpet, which I too found really mischievous and serious at the same time.
My moment of hilarity was a small-scale image (‘Mobile Nr.3’ 2017) taken by mobile phone at the top of a dark stairway. It looked out of focus but I thought that it was my eyes and as I got closer it would come into focus. Nope! It was out of focus. Hilarious! A wonderful photographic joke.
I always encourage students to explore the experiential in viewing work in the real (i.e. not mediated by book or screen) and this exhibition really was an object lesson in this. Our students were generally really impressed too, which was great to witness.
And time for some jokes too – I spotted my colleague Becky Goddard laughing at (or rather with) an early photo of a grey carpet, which I too found really mischievous and serious at the same time.
My moment of hilarity was a small-scale image (‘Mobile Nr.3’ 2017) taken by mobile phone at the top of a dark stairway. It looked out of focus but I thought that it was my eyes and as I got closer it would come into focus. Nope! It was out of focus. Hilarious! A wonderful photographic joke.
Mobile Nr.3, 2017
Like the above image his recent work shows no sign of him losing his touch, as in Tokyo, 2017 below.
Highly recommended exhibition. I’ll be back for another visit for sure!
Highly recommended exhibition. I’ll be back for another visit for sure!
Tokyo, 2017
Toys' R' Us, 1999
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