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Thomas Ruff

16h 28m/-60°, 1992

Chromogenic print, face-mounted to Diasec.
112 2/5 × 73 1/5 in
285.5 × 186 cm
Edition 1/2
Bidding closed
About the work
Bibliography
Provenance
P
Phillips

Image: 201 x 134 cm (79 1/8 x 52 3/4 in.)
Frame: 285.5 x 186 cm (112 3/8 x 73 1/4 in.)

Property …

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Image: 201 x 134 cm (79 1/8 x 52 3/4 in.)
Frame: 285.5 x 186 cm (112 3/8 x 73 1/4 in.)

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

From the Catalogue:
'My images are not images of reality, but show a kind of second reality, the image of the image.'
Thomas Ruff

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Signature
Signed, titled, dated and numbered 1/2 in pencil on the verso.
Thomas Ruff
German, b. 1958
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Thomas Ruff uses technological advancements to realize new visual possibilities of photography and question its artistic qualities. “I don’t believe in the psychologizing portrait photography that my colleagues do, trying to capture the character with a lot of light and shade,” he says. “That’s absolutely suspect to me. I can only show the surface. Whatever goes beyond that is more or less chance.” In the manner of the typologies and straight photography espoused by his teachers Bernd and Hilla Becher, Ruff’s best-known series is “Portraits” (1981-85), 60 frontal, identically framed photographs of expressionless men and women blown up to a monumental size. Authenticity and appropriation are of recurring interest to Ruff—he further explored these ideas in “Nudes” (2003), a photographic collection of distorted and enlarged thumbnails of pornographic photographs taken from the internet, and has produced series based on 3-D mathematical renderings, archival images of war and the night sky, and the architecture of Mies van der Rohe.

Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Bibliography
Provenance
P
Phillips

Image: 201 x 134 cm (79 1/8 x 52 3/4 in.)
Frame: 285.5 x 186 cm (112 3/8 x 73 1/4 in.)

Property …

Read more

Image: 201 x 134 cm (79 1/8 x 52 3/4 in.)
Frame: 285.5 x 186 cm (112 3/8 x 73 1/4 in.)

Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

From the Catalogue:
'My images are not images of reality, but show a kind of second reality, the image of the image.'
Thomas Ruff

Read more
Signature
Signed, titled, dated and numbered 1/2 in pencil on the verso.
Thomas Ruff
German, b. 1958
Follow

Thomas Ruff uses technological advancements to realize new visual possibilities of photography and question its artistic qualities. “I don’t believe in the psychologizing portrait photography that my colleagues do, trying to capture the character with a lot of light and shade,” he says. “That’s absolutely suspect to me. I can only show the surface. Whatever goes beyond that is more or less chance.” In the manner of the typologies and straight photography espoused by his teachers Bernd and Hilla Becher, Ruff’s best-known series is “Portraits” (1981-85), 60 frontal, identically framed photographs of expressionless men and women blown up to a monumental size. Authenticity and appropriation are of recurring interest to Ruff—he further explored these ideas in “Nudes” (2003), a photographic collection of distorted and enlarged thumbnails of pornographic photographs taken from the internet, and has produced series based on 3-D mathematical renderings, archival images of war and the night sky, and the architecture of Mies van der Rohe.

Thomas Ruff

16h 28m/-60°, 1992

Chromogenic print, face-mounted to Diasec.
112 2/5 × 73 1/5 in
285.5 × 186 cm
Edition 1/2
Bidding closed
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