Thomas Struth, ‘Art Institute of Chicago II, Chicago’, 1990, Phillips

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

ULTIMATE

This work is number 1 from the sold-out edition of 10.

Image: 136.8 x 175 cm (53 7/8 x 68 7/8 in.)
Frame: 187.3 x 222.5 cm (73 3/4 x 87 5/8 in.)

Signature: Signed, titled, dated and numbered 1/10 twice in pencil on the verso.

Photographie III – Thomas Struth - Museum Photographs, Hamburger Kunsthalle, Hamburg, 11 November 1993 - 16 January 1994
Thomas Struth: Strangers and Friends – Photographs 1986 - 1992, The Institute of Contemporary Art, Boston, 19 January - 27 March 1994; Art Gallery of Ontario, Toronto, 18 January - 9 April 1995
Thomas Struth: Still, Carreé d’Art – Musee d’Art Contemporain, Nîmes, 14 March - 7 June 1998; Centre National de la Photographie, Paris, 20 January - 15 March 1999
Thomas Struth 1977-2002, Dallas Museum of Art, Dallas, 12 May - 18 August 2002; The Museum of Contemporary Art, Los Angeles, 14 September - 5 January 2003; The Metropolitan Museum of Art, New York, 4 February - 18 May 2003; Museum of Contemporary Art, Chicago, 28 June - 28 September 2003
Thomas Struth: Photographs 1978-2010, Kunsthaus Zürich, Zürich, 11 June - 12 September 2010; Kunstsammlung NRW, Düsseldorf, 26 February - 19 June 2011; Museu Serralves, Porto, 29 October 2011 - 26 February 2012
For another print

Thomas Struth: Museum Photographs, Schirmer/Mosel, 1993, p. 13
Thomas Struth: Strangers and Friends, MIT Press, 1994, p. 19
Thomas Struth: Still, Schirmer/Mosel, 1998, p. 73
Thomas Struth: 1977-2002, Schirmer/Mosel, 2002, p. 105
Thomas Struth: Museum Photographs, Schirmer/Mosel, 2005, p. 49
Thomas Struth: Photographs 1978-2010, Schirmer/Mosel, 2010, p. 119

Acquired directly from the artist

About Thomas Struth

Thomas Struth takes mesmerizing photographs that express his belief in photography as “a tool of scientific origin for psychological exploration.” He began taking pictures in 1976, influenced by his studies with three of the most important contemporary German artists of the time—painter and mixed media artist Gerhard Richter and photographers Bernd and Hilla Becher. After his early black-and-white series of deadpan views of cityscapes eerily devoid of any signs of urban life, in 1989, Struth began work on his best-known cycle, the “Museum Photographs.” In these large-format, color-saturated photographs, Struth captures individuals and crowds looking at famous works of Western art in the world’s most popular museums. While looking at the “Museum Photographs,” viewers are confronted with the act of looking itself and the social complexities of seeing and being seen.

German, b. 1954, Geldern, Germany, based in Düsseldorf, Germany