Synopsis
Thomas Struth is considered one of the major figures of German photography. He combines a rigorous style with a neutral, objective vision of reality and an impressively precise technique. The first major monograph on Struth to be published in the United States, Still continues a notable tradition of books by German photographers from August Sander and Albert Renger-Patzsch to Hilla and Bernd Becher, and is a beautiful survey of Struth's body of work, including stunning close-up views of flowers, restrained urban streetscapes, intimate portraits, and frenzied museum interiors. Critic Peter Schjeldahl has written in the Village Voice: "Thomas Struth [is] one of a generation of photographers whose work is the latest strength of a German art culture that seems to have no end of aces up its sleeve . . . His urban shots apply Becheresque formulas of static, unpopulated (surely early-morning), shadowless views with a feel for the ?typical' or ?average' aspect of a subject. As if in compensation, Struth's astonishing family portraits burn with human presence." Struth began in the early 1980s to make steely black-and-white photographs of deserted city streets and decaying buildings. In recent years, his work has diversified in subject, scale, and color to embrace increasingly ambitious subjects and challenging locations. Struth has extended his urban investigation to the inhabitants and spaces of the city, from Milan to Tokyo, while his recent landscapes and portraits complete his unique vision of the alternately public and solitary conditions of being.
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About the Author
Thomas Struth is a former student of artist Gerhard Richter and of photographers Hilla and Bernd Becher. He has exhibited his work at museums and galleries in New York, London, Milan, Paris, Berlin, and Tokyo.
Reviews
German photographer Struth is among the artists from the celebrated D sseldorf School who studied under conceptualists Bernd and Hilla Becher in the 1970s and 1980s. Their rigid, deadpan style of uniform picture making proved a rich starting point, and in maturity Struth's work excavates the nature of photography itself. Three new titles encapsulate the work of this important midcareer artist. Portraits, published on the occasion of Struth's one-man exhibition at the Sprengel Museum in Hanover, contains the artist's psychologically loaded frontal images of his human subjects. In the words of curator Weski, Struth's camera is applied like "a two-way mirror," reflecting both the photographer and his view of the subject with us, the viewer, as the third partner. Still presents an overview of the artist's work, including his flower pieces, some portraiture, and his early street photos. Dubbed "subconscious places" by the photographer, the city roads, with their austerity and vanishing point perspective, convey multiple layers of history as well as the "photographic moment." Museum Photographs, with its images of people viewing works of art in museums around the world, explores photography's rivalry with painting as well as issues like how art changes by being in a museum, how it is displayed, and how we look at it. Including an outstanding essay by Belting, this slim, oversized book contains 17 large plates of the enormous photographs. In spite of its usefulness in bringing these works together and the high quality of the reproductions, this publication underscores an inherent difficulty in publishing Struth's photography: because it is so much about photography itself, i.e., the photograph on the wall, this "translation" into book form strips away some meaning and a large portion of the effect. Both Museum Photographs and Portraits are recommended for larger art and photography collections, the former for its superior essay and the latter for its comprehensive look at this central series. For its broad overview, Still is highly recommended for all libraries. Doug McClemont, New York
Copyright 2001 Reed Business Information, Inc.
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Condition: Sehr gut. First Edition. 144 Seiten, überw. Abb. Good copy, cover slightly discolored. - Thomas Struth is considered one of the major figures of German photography. He com- bines a rigorous style with a neutral, objective vision of reality and an impressively precise technique. Exploring his themes in successive series, he spent several years focusing on the urban architecture of Europe and the United States. Ironing out the exceptional, his gaze concentrated on rows of banal buildings, on vistas of streets without qualities, on the details of anonymous facades. And yet, behind these seemingly blank descriptions of com- mon cityscapes, there lies a profound and serious meditation on recent Western history, and in particular on the traumas caused by the last world war and the architectural "responses" that these elicited. -- In the mid- -- s, Struth widened his field of investigation, beginning work on several series of portraits of individuals or groups, particularly families. Here, human emotion is distinctly present but never indulged. It emerges in the psychological density of a gaze, in the singularity of a posture, or, even more conspicuously, in the knotty relationships of the family portraits. -- In recent years, Struth has embarked on new themes such as landscape and flowers. These form a gently lyrical counterpoint to the earlier series. He has also developed a fascinating exploration of the places where works of art are shown-both traditional settings such as churches and palaces, and the specialist institutions that are museums as well as into the modern rituals that shape the public's behavior toward these places and the works they con- tain. Alternatively sympathetic and ironic, Struth conducts an extremely subtle analysis of the position of the work of art in our society, of our relation to history and heritage and, lastly, of the mysterious and enduring power of art over human beings (a phenomenon which, paradoxically, photography, of all art forms, seems the best equipped to reveal). -- This book marks the first major European exhibition dedicated to Thomas Struth. We hope that this event will increase familiarity with his body of work and thus help provide a FOREWORD -- C -- X -- Y -- Alt -- clearer definition of what we consider an exemplary artistic enterprise in relation to the field of contemporary photography. It is a pleasure to thank all the lenders for their pre- cious support and, of course, the artist himself, whose unfailing helpfulness and care did so much to ensure the success of this project. -- THOMAS STRUTH Acknowledgments -- GUY TOSATTO The Time of Photography -- HRIPSIMÉ VISSER Cultural Images -- List of Plates -- Plates -- , RÉGIS DURAND A Common Measure -- , JAMES LINGWOOD Composure [or On Being Still] -- Biography -- Exhibitions -- Bibliography -- Lenders. ISBN 9781580930949 Sprache: Englisch Gewicht in Gramm: 1148 Orig.Lw.; Orig.-Schutzumschlag. Seller Inventory # 1265464
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Hardcover. Condition: NEW. Dust Jacket Condition: NEW. 143 pages, colour illustrations; 30 cm. First published on the occasion of the exhibition Thomas Struth, organized by Carre d'art/Musee d'art contemporain, Nimes; the Stedelijk Museum, Amsterdam; and the Centre National de la Photographie, Paris. BRAND NEW. A fine copy. Still in publisher's shrinkwrap. OVERSIZE! Additional shipping charges may be requested for international & priority orders. Richly illustrated with colour plates. *** "Thomas Struth is considered one of the major figures of German photography. He combines a rigorous style with a neutral, objective vision of reality and an impressively precise technique. The first major monograph on Struth to be published in the United States, Still continues a notable tradition of books by German photographers from August Sander and Albert Renger-Patzsch to Hilla and Bernd Becher, and is a beautiful survey of Struth's body of work, including stunning close-up views of flowers, restrained urban streetscapes, intimate portraits, and frenzied museum interiors. Critic Peter Schjeldahl has written in the Village Voice: 'Thomas Struth [is] one of a generation of photographers whose work is the latest strength of a German art culture that seems to have no end of aces up its sleeve . . . His urban shots apply Becheresque formulas of static, unpopulated (surely early-morning), shadowless views with a feel for the 'typical' or 'average' aspect of a subject. As if in compensation, Struth's astonishing family portraits burn with human presence.' Struth began in the early 1980s to make steely black-and-white photographs of deserted city streets and decaying buildings. In recent years, his work has diversified in subject, scale, and color to embrace increasingly ambitious subjects and challenging locations. Struth has extended his urban investigation to the inhabitants and spaces of the city, from Milan to Tokyo, while his recent landscapes and portraits complete his unique vision of the alternately public and solitary conditions of being. / Thomas Struth is a former student of artist Gerhard Richter and of photographers Hilla and Bernd Becher. He has exhibited his work at museums and galleries in New York, London, Milan, Paris, Berlin, and Tokyo." - Publisher. Size: 4to. Collectible. Seller Inventory # 211101