Developing out of the Photograms series, exploring the polarity of a positive and negative image, the Negatives transform early 20th century sepia albumen prints into blue and white negative prints, reversing the original process. The negative, a 'master' copy and only a means to an end, never the finished product, is invigorated with striking depth and intensity with both portraits and still lifes taking on an icy, porcelain-like quality.
Image rights: © Thomas Ruff / VG Bild-Kunst, Bonn Courtesy Sprüth Magers
About Thomas Ruff
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.
German, b. 1958, Zell am Harmersbach, Germany, based in Düsseldorf, Germany