Gursky is a German photographer, the kind who is the subject of the sort of people who write about art with very big words. If, for instance, you subscribe to The New Yorker, you can read a nine-year-old profile of him by Calvin Tomkins, where you will learn that there is something called the Düsseldorf School of photography—distinct from the Düsseldorf School of painting and the Düsseldorf School of electronic music—and that Gursky is one of its “ruling masters”.
Whatever the words, whatever the money, what Gursky can do is spot visually interesting patterns in man-made landscapes, photograph them, then photoshop them until they become slightly unreal yet recognizable.
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