Robert's portrait of Thomas Struth, another leading photographer of the Düsseldorf School, taken last July. (Struth has several famous photographs of people in museums looking at artwork, including the one on the cover of the Stefan Gronert book which you can see in the Featured Comments two posts down from this one.) He had only ten minutes for the shoot.
Here's Robert's website.
And by the way, Ed Kuipers reports that Andreas Gursky: Works 80-08 is the best Andreas Gursky book currently available (here's the U.K. link). The only one I have is this one, which is good, and which is still available new from several sellers for reasonable prices even though it's out of print. A number of Gursky books (of which there are many) have gone way up in price and are no longer easily attainable unless you have big bucks to spend. Not four million dollars, though.
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Featured Comment by Hans Muus: "I always enjoy TOP—the photographs, the discussions, the width of its scope in general. An education permanente in photography. And then there are the photographers I would never have heard of, of save for TOP. Enter Robert Phillips, just after recently having immersed myself again in Struth and Gursky. I know art (photography) is not a contest, and that at different moments and in different moods different photos speak to me most. That being said, right now the work of Phillips appeals to me more than any of the above. Maybe it is its unpretentiousness, and the sensitivity for context, I dunno. Made me a very happy viewer this morning. Thank you, Mike, for once again pointing the way."
Mike replies: Thank Robert, not me! And by the way, you're allowed. Just because some photographer sells a print for a lot of money doesn't mean you have to like it or even engage with it if you don't want to. I used to quite often make an attempt to "engage" with art I didn't understand, to figure out what I could get from it, and in many cases that's greatly enlarged my horizons. But I also became comfortable long ago with the idea that art is personal and also that what has meaning to us changes at different stages of our lives. In fact I think one of the great distractions of things like record prices for artwork is that it makes everyone think they have to engage in some way with the artwork, or that it has to engage them. Not so. I'm perfectly comfortable with the fact that I'm not moved by Frank Stella or Francis Bacon. Just the way I am and who I am. An expensive picture is just another picture; deal with it accordingly. There's nothing wrong at all with liking Robert Phillips more than Andreas Gursky if that's who you are and where you find yourself. Being honest with ourselves might even be the first prerequisite of joining the audience for art.