Thomas Struth: Museum Photographs
Neither Appearance Nor Illusion: Property from the Collection of Santiago Barberi Gonzalez
Executed in 2005, this work is number 2 from an edition of 10.
Signature: signed on a label affixed to the reverse
ARoS Aarhus Kunstmuseum, The Garden - End of Times; Beginning of Times, April - September 2017 (another example exhibited)
Galerie Max Hetzler, Berlin
Acquired from the above by the previous owner in 2007
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