Thomas Struth, ‘Todai-Ji Interior, Nara’, 1999, Phillips

Property in which Phillips has an Ownership Interest (see Conditions of Sale for further information)
Other examples from this edition are held in the permanent collections of the Museum of Fine Arts, Houston and the Modern Art Museum of Forth Worth.

Signature: signed "Th. Struth" on a label affixed to the reverse of the backing board; further numbered "4/10" on the reverse of the backing board

Houston, Museum of Fine Arts, Contemporary Art and Photography: Spotlight on the Collection of the Museum of Fine Arts, Houston, September 30, 2001 - February 3, 2002 (another example exhibited)
Houston, Museum of Fine Arts, Acquisitions of the Last Five Years: Selections of Modern and Contemporary Art, July 15 - October 15, 2005 (another example exhibited)
Houston, Museum of Fine Arts, Ruptures and Continuities: Photography Made after 1960 from the MFAH Collection, February 21 - May 9, 2010 (another example exhibited)
Kunsthaus Zürich; Dusseldorf, Kunstsammlung Nordrhein-Westfalen; Porto, Museu de Arte Contemporãnea Fundação de Serralves, Thomas Struth: Photographs 1978 - 2010, June 11, 2011 - February 26, 2012, no. 7481, pp. 90, 204 (another example exhibited and illustrated)

Marian Goodman Gallery, New York
Private Collection, New York (acquired from the above in 2000)
Acquired from the above by the present owner

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