Rückblick
In Rückblick (the title of which translates as ‘review’), Gursky constructs a fictional scene in which Angela Merkel and the three previous Chancellors of the Federal Republic of Germany sit in front of the wall-sized painting Vir Heroicus Sublimis (1950-51) by Barnett Newman. Seen from behind seated on leather chairs, these four isolated heads (all of whom were still alive at the time the work was made) seem reduced to tiny protagonists, dwarfed by the painting’s expansive plane of red, broken only by Newman’s signature vertical lines or ‘zips’, and the plume of white smoke that emerges from a cigarette out of view.
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission
Rückblick
In Rückblick (the title of which translates as ‘review’), Gursky constructs a fictional scene in which Angela Merkel and the three previous Chancellors of the Federal Republic of Germany sit in front of the wall-sized painting Vir Heroicus Sublimis (1950-51) by Barnett Newman. Seen from behind seated on leather chairs, these four isolated heads (all of whom were still alive at the time the work was made) seem reduced to tiny protagonists, dwarfed by the painting’s expansive plane of red, broken only by Newman’s signature vertical lines or ‘zips’, and the plume of white smoke that emerges from a cigarette out of view.
© All rights reserved - Don't use my images on websites, blogs or other media without my explicit permission