Gursky never digitally manipulated his photographs before 1990. However after this period he has never hidden the fact that he heavily relies on his computer to edit and in turn enhance his pictures which enables him to create spaces that are in fact larger than the subjects that he has photographs and this generates art. Peter Schjeldahl who is a journalist who works for the New Yorker calls his work “vast,” “splashy,” entertaining” and “literally unbelievable.” Within the same publication another critic, Calvin Tomkins, described his work as stated below:
“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 colour 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 immediacy as photographs. Their subject matter was the contemporary world, seen dispassionately and from a distance.”
I particularly love the scale and the detail that is produced in Gursky’s work. It is difficult to imagine the impact of viewing one of these images considering that they are the size of a wall. If you stop and try to imagine this you begin to appreciate how grand these pieces really are. When you start to study these photographs you truly become overwhelmed with the detail captured within them. Gursky obviously gives a lot of consideration to the composition that he employs to capture these images and hence create the effect that he was after. These photographs are very colourful and in my opinion extremely powerful.