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Andreas Gursky, The best of times

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There was a moment in the 2001 Andreas Gursky MoMA Retrospective when the Unseen Eye first encountered the artist’s “May Day II, 1998”, a rave-scape. The Eye was stopped in his tracks. The work was not so perfect technically, pixellating like mad in the corners with light bouncing off of the Plexiglass in an unyielding fashion, but it was gasp inducing. Astonishing. The Eye hesitated looked, then looked more and more, longer and wider, closer then further away, backing up, searching the image, trying to come to grips with it.

The impact of the piece was such that the Eye thought this must be what people – who liked it – felt when they heard Stravinsky’s “Rite of Spring” debut or when they first stumbled upon one of Jackson Pollock’s drip paintings. No surprise when turning the corner, the Eye ran into his “Untitled VI (1991), Gursky’s literal capture of Pollock.

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