세계에서 가장 비싼 사진 작가 Andreas Gursky

세계에서 가장 비싼 사진 작가 Andreas Gursky 

Andreas Gursky는 독일의 사진작가이다. 

그는 현대의 "human anthills" 록 콘서트나 링 주변에서 흥정하는 사람들의 거대한 군중, 증권 거래소에서 

캠핑을하거나 (평양의 경기장에서와 같은 군사 스포츠 퍼레이드에서 ) 사진을 찍는다. 

Gursky의 작품은 크기뿐만 아니라 기념비적이다 - 그에의해 각인된 세계는 기념비적이다. 

Gursky의 재료는 현대 세계의 일상 생활의 세계다 - 생산과 소비의 세계 - 도시 풍경과 시골 풍경.

Gursky's hallmark is panoramic large-format photographs, taken, as a rule, from a high point.

 In 2007, Gursky's work "99 cents" (1999) was sold for $ 3,340,456, setting a new price record for a photograph. 

The buyer is Ukrainian businessman Victor Pinchuk.

German photographer Andreas Gursky was born in 1955. 

Photos studied in three stages. 

In Düsseldorf, where he grew up, his father, a successful advertising photographer, taught his son 

all the intricacies and tricks of the craft. 

In the late 70s, Gursky spent two years in Essen - at the Folkwang School, the famous institution for

 training professional photographers. 

In addition, in the early 80s, Gursky studied at the State Academy of Arts in Dusseldorf, which, thanks to 

artists such as Joseph Beuys, Sigmar Polke and Gerhard Richter, became the cradle of the German 

post-war avant-garde.

In 2011, the work of A. Gursky “Rhine II” was bought by an anonymous bidder Christie's Impressionist 

and modern art for a record $ 4.4 million, thus becoming the most expensive picture in the history of auctions.

Life took him to different parts of the world: he visited Hong Kong, Cairo, New York, Brazil, Tokyo, Stockholm, 

Chicago, Athens, Singapore, Paris, Los Angeles and many other cities. 

The themes of early works - Sunday vacations and tourist essays - gave way to the aesthetics of huge factories, 

hotels, office buildings and warehouses. 

Until the mid-90s, he did not process his pictures on a computer, but later he began to resort to this type 

of work with the material in order to generate more space than what the camera can capture. 

Now his author's style is absolutely recognizable: huge canvases of photographs with a practically tangible 

texture, made, as a rule, from a high shooting point.

Gursky’s point of view is “Photoshop”. With his digital help, he composes his pseudo-naturalistic photo stories. 

With the help of computer technology, the very overcrowding of frames is created when, through sophisticated 

editing, pictures of the same crowded places or events taken at certain time intervals are combined.

The constitutive ability of photography to take a moment on the fly, freeze it takes on a special meaning 

in Gursky's works: there is a feeling that all life is caught on the fly and this stop reveals its truly Parmenid 

essence, which consists in the illusory nature of all movement, all development.

This effect is apparently associated with the spatial distance that the photographer occupies in relation to “life”, 

which allows him to show this “life” as a holistic context that exceeds the sum of the differences. 

The artist, as it were, looks at the world from a bird's eye view - and with a truly bird's vigilance, which does 

not lose sight of a single detail.

Sometimes these works are literally filled to the brim with figures of people. 

But it is precisely on these photographs that the final effect of eventlessness is especially strong. 

It seems that all movements, all gestures captured at the same time, in the sum give zero. 

Zero development, zero historicity: static, but not in the form of peace, but in the form of continuous movement; 

monotony - but infinitely fractional and diverse.