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Thomas Ruff

Nudes fn 06, 2001

Chromogenic print, in artist's frame
62 × 44 in
157.5 × 111.8 cm
Edition 4/5 + 2AP
Bidding closed
About the work
Bibliography
Provenance
P
Phillips

Executed in 2001, this work is number 4 from an edition of 5 plus 2 artist's proofs.

Executed in 2001, this work is number 4 from an edition of 5 plus 2 artist's proofs.

Signature
Signed, partially titled, numbered and dated "Thomas Ruff 4/5 2001 fn06" on a label affixed to the reverse
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
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Save
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view
View in room
share
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About the work
Bibliography
Provenance
P
Phillips

Executed in 2001, this work is number 4 from an edition of 5 plus 2 artist's proofs.

Executed in 2001, this work is number 4 from an edition of 5 plus 2 artist's proofs.

Signature
Signed, partially titled, numbered and dated "Thomas Ruff 4/5 2001 fn06" on a label affixed to the reverse
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

Nudes fn 06, 2001

Chromogenic print, in artist's frame
62 × 44 in
157.5 × 111.8 cm
Edition 4/5 + 2AP
Bidding closed
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