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Andreas Gursky-Bangkok photo book

in may 2020 I was talking with my Friend Kathi about a German Photographer Andreas Gursky, moreover I am following his Artworks for long time. I asked if she knows him or not?. Kathi told me she knows him as well, also she has one of his photography books.
I was excited that she knows him. after talking a lot about Andreas Gursky she lent this book for me. however, I couldn’t keep the book but I made few photos from the book, here I’m posting a few pages from this amazing book. besides this book i suggest you to take a look for other artworks from Andreas Gursky.

book pages

Andreas Gursky-Bangkok photo book

About this book Bangkok photo book

Andreas Gursky’s new Bangkok series forms the basis of this book. Gursky’s photos depict the dark, moving water of Thailand’s Chao Phraya river, whose shimmering surface possesses the qualities of abstract painting.

Indeed these photos are reminiscent of some of the most recognizable examples of Modernist Abstraction such as the work of Hans Arp, but they also echo the more hostile patterns of military camouflage. Seductively beautiful at first glance, it is only in time that the rubbish of civilisation becomes recognizable floating on the surface of the river – the flotsam of a threatening reality moving upon colorful reflections.

Gursky alludes to the ecological problems that Jeopardise Bangkok, and which shortly after these images were made, culminated in the widespread flooding that devastated great parts of Thailand.

who is Andreas Gursky

He is a German photographer and professor at the Kunstakademie Düsseldorf-Germany. Andreas Gursky has born in 15 January 1955. Andreas gursky known for his large-format architecture and landscape color photographs. He often using a high point of view in most of his photos.

in addition, in Düsseldorf he has a shared studio with Laurenz Berges, Thomas Ruff, and Axel Hütte. The building, was a former electricity station, However they transformed the Station into an artist’s studio and living quarters, in 2001.

Andreas Gursky Career and style

Before the 1990s, Gursky did not digitally manipulate his images. In the years since, Gursky has been frank about his reliance on computers to edit and enhance his pictures, creating an art of spaces larger than the subjects photographed.[citation needed] Writing in The New Yorker magazine, the critic Peter Schjeldahl called these pictures “vast,” “splashy,” “entertaining,” and “literally unbelievable.”[12] In the same publication, critic Calvin Tomkins described Gursky as one of the “two masters” of the “Düsseldorf” school. In 2001, Tomkins described the experience of confronting one of Gursky’s large works:

The first time I saw photographs by Andreas Gursky…I had the disorienting sensation that something was happening—happening to me, I suppose, although it felt more generalized than that. Gursky’s huge, panoramic color prints—some of them up to six feet high by ten feet long—had the presence, the formal power, and in several cases the majestic aura of nineteenth-century landscape paintings, without losing any of their meticulously detailed immediacies as photographs. Their subject matter was the contemporary world, seen dispassionately and from a distance.

The perspective in many of Gursky’s photographs is drawn from an elevated vantage point. This position enables the viewer to encounter scenes, encompassing both center and periphery, which are ordinarily beyond reach. This sweeping perspective has been linked to engagement with globalization. Visually, Gursky is drawn to large, anonymous, man-made spaces—high-rise facades at night, office lobbies, stock exchanges, the interiors of big-box retailers (See his print 99 Cent II Diptychon). In a 2001 retrospective, New York’s Museum of Modern Art described the artist’s work, “a sophisticated art of unembellished observation. It is thanks to the artfulness of Gursky’s fictions that we recognize his world as our own.” Gursky’s style is enigmatic and deadpan. There is little to no explanation or manipulation on the works. His photography is straightforward.

Gursky’s Dance Valley festival photograph, taken near Amsterdam in 1995, depicts attendees facing a DJ stand in a large arena, beneath strobe lighting effects. The pouring smoke resembles a human hand, holding the crowd in stasis. After completing the print, Gursky explained the only music he now listens to is the anonymous, beat-heavy style known as Trance, as its symmetry and simplicity echoes his own work—while playing towards a deeper, more visceral emotion.[citation needed]

The photograph 99 Cent (1999) was taken at a 99 Cents Only store on Sunset Boulevard in Los Angeles and depicts its interior as a stretched horizontal composition of parallel shelves, intersected by vertical white columns, in which the abundance of “neatly labeled packets are transformed into fields of color, generated by endless arrays of identical products, reflecting off the shiny ceiling” (Wyatt Mason). Rhein II (1999), depicts a stretch of the river Rhine outside Düsseldorf, immediately legible as a view of a straight stretch of water, but also as an abstract configuration of horizontal bands of color of varying widths. In his six-part series Ocean I-VI (2009–2010), Gursky used high-definition satellite photographs which he augmented from various picture sources on the Internet.