Brad Troemel is the subject of a profile in the New Yorker this week, which reflects on the artist’s recent work both in and outside the traditional gallery system, and his approach towards making art that often defies categorization. “At what point do artists using social media stop making art for the idealized art world audience they want,” the piece quotes from one of his essays, “and start embracing the new audience they have?”
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Hong Kong, Island via Artnet.
Gursky is a German photographer famous for his large and highly-textured photographs that provide a high point of view. He is fascinated with the relationship of people and space. Though not working in definitive series, his work can often be linked by motif. Often, his photographs, which capture a wide-angled view of a vast subject, feature an array of patterns. These patterns, which seem to be one of the most definitive qualities of his work, are not staged or posed, but are instead naturally occurring and captured from an odd or dramatic angle.
Signature works include the 1993 Paris, Montparnasse, which portrays the large, grid-like exterior of a large building while simultaneously allowing voyeuristic views into each curtainless window. More recently, he has incorporated computer editing into his art, frequently creating larger subjects than the initial photograph provides.
His work, 99 Cent II Diptychon, a dizzying photograph of row after row of candy and other disposable goods on display at a 99-cent store, sold for $3.3 million in 2007 and holds the record for the highest price paid for a photograph taken by a living photographer, via MOMA.
UBS Collection at Mori Art Museum [ArtObserved]
More info about the artist coming soon.