Description: Andreas Gursky
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signed, titled, dated 97 and numbered 3/6 on the reverse
186 by 239 cm.
73 1/4 by 94 1/8 in.
Galerie Monika Spruth, Cologne
Acquired directly from the above by the present owner in 1997
Exhibition Catalogue, Wolfsburg, Kunstmuseum; Winterthur, Fotomuseum; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Turin, Castello di Rivoli, Museo d'Arte Contemporanea; Lisbon, Centro Cultural de Belem, Andreas Gursky: Fotografien, 1994-1998, 1998, p. 71, illustration of another example in colour
Exhibition Catalogue, Dusseldorf, Kunsthalle; London, Serpentine Gallery, Andreas Gursky: Photographs from 1984 to the Present, 1999, p. 113, illustration of another example in colour
Exhibition Catalogue, Bonn, Kunstmuseum; North Miami, Museum of Contemporary Art, Great Illusions: Demand, Gursky, Ruscha, 1999, p. 42, illustration of another example in colour
"Masses of grains of sand, masses of illuminated grid patterns, human masses, architectural masses: we are only really alone in a museum. Not a sound, not a movement in front of Jackson Pollock's monumental work One: Number 31 painted in 1950. The only traces of action are in the painting... Let us remind ourselves of all the things that are not visible on Gursky's... photograph... casually dressed young people carrying rucksacks or large shoulder bags standing in front of the Pollock painting, yet turning to other paintings in the room... [Gursky] places Pollock's horizontal-format painting right in the middle of the photograph, between a strip of ceiling and a strip of carpet. The concealed row of lights above the painting, the same grey colour as the ceiling, blurs the upper end of the wall, which is rendered immaterial by the indirect lighting. It is even less clear where the wall on which the painting is hanging ends and the carpeted floor begins, for under the painting and its narrow shadow the light creates a diffuse area of chiaroscuro. The Pollock painting seems to be floating on a cushion of air... Even if Gursky transports Jackson Pollock's painting into a contemplative sphere, he is not afraid of creating a link between this masterpiece of perfectly formed formlessness and the Prada principle. o.T. VI is a look into the display cabinet: a shrine for an ornament."
Annelie Lutgens in Exhibition Catalogue Supplement, Wolfsburg, Kunstmuseum, op. cit., p. XIX