Thomas Struth, ‘Wangfujing Dong Lu, Shanghai’, 1997 -98, Phillips

Property Subject to VAT Section 2; Property Subject to Artist's Resale Right (see Conditions of Sale for further information)

Image: 83.8 x 102.3 cm (32 7/8 x 40 1/4 in.)
Sheet: 118 x 134.5 cm (46 1/2 x 52 7/8 in.)

Signature: signed 'Thomas Struth' on a label affixed to the reverse; further signed, titled, numbered and dated 'Thomas Struth "Wangfujing Dong Lu, Shanghai" 5/10 1998' on the reverse

Burkhard Riemschneider and Uta Grosenick, eds., Art at the Turn of the Millennium, Cologne, 1999, p. 489 (another example illustrated)
Richard Sennett, Thomas Struth, Unconscious Places, Munich, 2012, p. 241

Phillips, New York, 14 November 2000, lot 173
Private Collection
Private Collection, The Netherlands

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