- Identification and Creation
- Object Number
Andreas Gursky, German (Leipzig, Germany born 1955)
- Los Angeles
- Work Type
- Physical Descriptions
- Chromogenic photograph on paper, face-mounted to acrylic
- Chromogenic print
- 205 x 360 cm (80 11/16 x 141 3/4 in.)
- Matthew Marks Gallery, New York, NY, From the Artist, Sold to Fogg Art Museum, 2000.
- Acquisition and Rights
- Credit Line
- Harvard Art Museums/Busch-Reisinger Museum, Purchase through the generosity of Edythe and Eli Broad, The Broad Art Foundation, and the Friends of the Busch-Reisinger Museum
- © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
- Accession Year
- Object Number
- Modern and Contemporary Art
- The Harvard Art Museums encourage the use of images found on this website for personal, noncommercial use, including educational and scholarly purposes. To request a higher resolution file of this image, please submit an online request.
- A spectacular nightime aerial view of Los Angeles, titled just that: "Los Angeles". The work is typical of Gursky's recent panoramic (usually overhead) views of a familiar city, region, or commercial site [e.g. a Prada showroom or the Tokyo Stock Exchange], which manage to vividly and instantaneously project an almost caricatural gestalt image (the twinkling spead of L.A. against the dark, night sky; the sleek designer colors, lighting and streamlined cases of a Prada display]. Aside from their formidable scale, and incredibly printed surfaces, there are several aspects of Gursky's work that I find especially impressive. First, he has found a way to capture the particulars of sites that should be all rights read simply as "global"--stock markets; designer boutiques; urban corporate architecture, legislative assembly halls; highway exit ramps and overhead bridges--and to portray them as at once regionally distinct and international. Second, his images manage to stop just short of caricature, or cliche, so as to seem inevitable. [One thinks: "This is exactly what L.A. looks like, flying in at night," not, "What a cliche."] Third, Gursky's images appear at once "taken" (as in straight photography and in the Johnsian sence of that word) and as painstakingly "rendered." These attributes, or more specifically the last two, Gursky's capacity to transform a cliche image into an inevitable image and to produce pictures that seem both directly photographed, or taken, and intensely subjective and painterly in the manipulation of their surface detail, led to the organization of an exhibition, "Landmark Pictures," featuring the work of Gursky and, perhaps surprisingly, Ed Ruscha.
- Publication History
Peter Nisbet and Joseph Koerner, The Busch-Reisinger Museum, Harvard University Art Museums, ed. Peter Nisbet, Harvard University Art Museums and Scala Publishers Ltd. (Cambridge, MA and London, England, 2007), pp. 12, 13
Stephan Wolohojian, ed., Harvard Art Museum/ Handbook, Harvard Art Museum (Cambridge, MA, 2008), p. 253, ill.
- Exhibition History
Landmark Pictures: Ed Ruscha/Andreas Gursky, Sert Gallery, Cambridge, 06/08/2000 - 07/16/2000
- Subjects and Contexts
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at firstname.lastname@example.org