Watch part one of the most interesting Andreas Gursky’s interviews.
0:39 to 0:50
Hilla Becher visits Andreas Gursky in the photo-depot of his studio. In the early 80s he studied by her husband Bernd Becher at the Dusseldorf Art Academy.
0:50 to 1:37
I liked the picture very very much. But Bernd did not like it and we have fought us. He has argued it would be too abstract for him, so that it no longer works. I think it is of course very abstract. One can clearly see that something is gone, what was there in reality. But I really like this over-abstraction, where the Rhine runs through the area like a slime or a pudding. The picture shows something that really is the Rhine.
1:37 to 2:24
You said that you feel somehow that something has changed. Can you describe more specific?
I would imagine here on the site, something is missing. Do you have something put right? It has become so suspiciously smooth, as if drawn with a ruler and I am not quite buying that.
The fact is that in this image the cleanup has took place really economical. So at the point it was pretty much what it is, but here is actually the coal power plant.
And that’s all?
2:24 to 3:00
No. That’s not all.
And here at the front and there?
The foreground, the road and the entrance to the water is completely untreated.
Yes! What is not to say that I went there and just did a photo. This is my jogging track and I know the place very well. When I had decided to take the photo and I looked at the first contact sheets, my initial impression was not at all recognize. And this initial impression I had laboriously restore.
3:00 to 3:40
At the beginning of this work, we always had east wind and the wind direction while sliding towards the river and the water is very smooth. But I wanted a roughened surface. For that I needed a very specific wind from the opposite direction.
That is what is at taking pictures so beautiful that you creep into something. That one is really so busy working and not on hopes that something will happen by the way accidentally.
3:50 to 4:10
One year before the opening of a major retrospective of his work, Andreas Grusky begins with the research for a new photo that will be shown in this exhibition.
He looks at the changing rooms, the so-called “Weiß- und Schwarzkaue” in the few mines in the Ruhr area which are still in operation.
4:17 bis 4:19
What ist this?
This is the “Weißkaue” (for the street clothes). Over there is the “Schwarzkaue” (for the pit clothes).
5:40 to 5:58
So these are now the clothes worn downhole? Yes, this is the “Schwarzkaue” for pit clothes. There is the “Weißkaue” for street clothes.
But why hang clothes here now. Are not all miners working?
Yes, they have several shifts.
5:58 to 6:17
What is your impression?
I think it is hanging very low.
Yes. This is also what bothers me right now.
I think the “Schwarzkaue” is more interesting than the “Weißkaue”.
6:28 to 7:30
Here hang no boots. Do they go barefoot in the tunnel? That can not be. Absolutely not! But over there, there are also boots. They store them differently here. Here it may be that people are coming from the showers.
How is that when people come to the shift change? Then the clothes pulled down. They have numbers. Every miner has a number. So they can get their clothes. Every miner has a personal key.
7:30 to 8:04
They come in their private dresses in the “Weißkaue”, undress and get naked in here in the” Schwarzkaue” and move to the work clothes. After the shift, they come back here again, undress, go into the shower and pull back to their home clothes.
How long this will take? When the first to come out and when to go the last?
This happens 24 hours a day.
8:04 to 8:30
So, I think this space better here. … I find this very homogeneous … I mean the ordinary, as this things are hanging here …
9:14 to 9:45
I come from the employee magazine of the mine. I have a few short questions for an article. What exactly are you doing here? We have not done anything, but first visited the location, the various dressing rooms. My assistant has researched and photographed the sites here already digital, so that I could imagine me something. If I had seen at first something of which I would say, we do that, I would going to unpack the camera, but I prefer to look in all locations first.
9:45 to 10:10
And what is interesting you so special? What is the attraction?
I often come across images that way. I saw a picture of such a locker room and that made me just interested. It has something to do with people. It has a lot to do with space, with three dimensionalty. These are themes of my work.
10:43 to 11:30
A very taciturn image. Compared with the tumult that we see in other pictures by Andreas Gursky. And yet, in this picture - one might say - brings together all the basic elements that determine its imagery. The color. The light. The architecture. And structure (in a word). What structure is it? Finally, a structure that is aligned to an abstract, geometric art. One can think of Minimal Art, you can think of Dan Flavin.
11:30 to 12:02
One can think of a certain serial austerity and severity. Which he discovered by Bernd Becher in Düsseldorf. It’s an absurd image. It is an image without objects, no products and no people. Although he - on the other side - a great human performer is. The effect is so immense, because Gursky uses the big format.
12:02 to 12:30
One can think of romance, one can think of Caspar David Friedrich (Seascape with Capuchin). A picture that was also important for Jackson Pollock. Being in the image. Drowning in the picture. There are many pictures of Gursky, where one has the feeling that one while watching the picture almost drowning in what is presented.
12:35 to 12:50
The existing changing rooms provided not the proper material for Andreas Gursky. 10 months before the exhibition opening, he runs into another mine.
At Hamm (name of a town).
Andreas Gursky — Long Shot Close Up
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Part 2 - PHOTOGRAPHER ANDREAS GURSKY
Andreas Gursky Photographer Image
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