Thomas Struth, ‘Giles Robertson (Smiling), Edinburgh 1987’, 1987, Photography, Silver gelatin print, Galerie Greta Meert
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Thomas Struth

Giles Robertson (Smiling), Edinburgh 1987, 1987

Silver gelatin print
26 × 33 1/10 in
66 × 84 cm
Edition 4/10
.
Contact For Price
Location
Brussels
Certificate
Certificate of authenticity
This work includes a certificate of authenticity.
Have a question? Visit our help center.
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About the work
Galerie Greta Meert
Brussels

Dimensions without frame: 41,5 x 56,5 cm

Medium
Certificate of authenticity
Included
Frame
Included
Image rights
Courtesy the artist and Galerie Greta Meert
Thomas Struth
German, b. 1954
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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.

Thomas Struth, ‘Giles Robertson (Smiling), Edinburgh 1987’, 1987, Photography, Silver gelatin print, Galerie Greta Meert
Save
Save
View
View in room
Share
Share
About the work
Galerie Greta Meert
Brussels

Dimensions without frame: 41,5 x 56,5 cm

Medium
Certificate of authenticity
Included
Frame
Included
Image rights
Courtesy the artist and Galerie Greta Meert
Thomas Struth
German, b. 1954
Follow

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.

Thomas Struth

Giles Robertson (Smiling), Edinburgh 1987, 1987

Silver gelatin print
26 × 33 1/10 in
66 × 84 cm
Edition 4/10
.
Contact For Price
Location
Brussels
Certificate
Certificate of authenticity
This work includes a certificate of authenticity.
Have a question? Visit our help center.
Want to sell a work by this artist? Consign with Artsy.
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