BOOK FORMAT Hardcover, 10 x 12.5 in. / 320 pgs / 401 color.
PUBLISHING STATUS Pub Date 10/24/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 25
PRODUCT DETAILS ISBN 9781942884224TRADE List Price: $85.00 CAD $112.50
AVAILABILITY In stock
TERRITORY NA ONLY
EXHIBITION SCHEDULE
Munich, Germany Haus der Kunst, 05/05/17–09/17/17
"He radiates decency and straightforwardness. He is kind and calm and modest. He is the kid in the class everyone wants to sit next to…. Struth’s work does not reflect the culture of guilt he speaks of. Unlike, for example, the gritty, dread-inducing paintings of Anselm Kiefer, whose thoughts never seem far from Auschwitz, Struth’s photographs evoke nothing bad. They have a lightness of spirit, you could almost say a sunniness, that is not present in the work of the other major practitioners of the new oversized color photography—Andreas Gursky, Candida Höfer, Jeff Wall, Thomas Ruff among them. Struth is the Sunday child of the lot. His huge photographs—city streets, people looking at paintings in museums, industrial landscapes, factories, laboratories, rain forests, and family groups—are as pleasing as his persona; they seem to be an extension of it. Michael Fried, in his tautly argued book “Why Photography Matters as Art as Never Before” (2008), pauses to remark, with apparent (uncharacteristic) irrelevance—but evident intuitive understanding of the force of Struth’s radiance—“A striking fact about Struth’s public career is the almost universally enthusiastic response that his work has received.” An early enthusiast, Peter Schjeldahl, wrote in the Swiss art journal Parkett, in 1997, “It is time to say that Struth’s pictures regularly take my breath away. I find it hard to look at them steadily for any length of time, so intense is their effect on my emotions.” In the catalogue of a 2003 Struth retrospective at the Metropolitan Museum in New York, Maria Morris Hambourg and Douglas Eklund testified to “a remarkable feeling” they experienced while looking at Struth’s photograph of two women standing before Gustave Caillebotte’s “Paris, Rainy Day,” “of stepping into one’s own skin again, while alienation from others and from history—the curse of the modern—is dissolved in the image.” Today, there is no diminution of the enthusiasm; if anything, it is growing, and sane critics are continuing to lose it under Struth’s mesmerizing spell." - Janet Malcolm, The New Yorker
Edited with text by Thomas Weski, Ulrich Wilmes. Text by Jana-Maria Hartmann. Interview by Okwui Enwesor.
"With his largest, most revealing retrospective and a major traveling exhibition, German photographer Thomas Struth’s continuing evolution is on display.” –Carol Kino, Wall Street Journal
Since the 1990s, Thomas Struth has been one of the best-known and internationally successful photographers of the German art scene. Struth studied painting under Gerhard Richter and photography under Bernd and Hilla Becher, a combination that decisively influenced his vision.
This volume is a compilation of representative photographs from each series of works in Struth’s oeuvre: street photographs from the 1970s and ‘80s; empathetic portraits (particularly of families); large-format “museum photographs”; nature studies; jungle photographs (New Pictures from Paradise); and, from the latest series, images from the world of science. As this compendium of his work shows, Struth has succeeded in setting new aesthetic standards thanks to his great precision, chromatic clarity, sound sense of composition and intellectual profundity.
Thomas Struth (born 1954) studied with the Bechers at the Düsseldorf Academy of Art. Struth is today a leading figure in German arts and international photography. He lives in Berlin and is represented in the US by Marian Goodman Gallery.
Featured image is reproduced from 'Thomas Struth.'
PRAISE AND REVIEWS
Art News
Andrew Russeth
Deceptively simple, conceptually taut works... allowing us to see people wrapped up in an aesthetic experience while we are engaged in some variation of that experience. They overlay various types of viewing, encapsulating those rare moments when words fall away.
Wall Street Journal
Carol Kino
With his largest, most revealing retrospective and a major traveling exhibition, German photographer Thomas Struth’s continuing evolution is on display.
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“What would you say is your critical project when you add… all the work you’ve done over the last forty-five years,” Okwui Enwesor asks photographer Thomas Struth in the comprehensive new retrospective monograph from D.A.P. “Did you have a program? Are you still searching for your subject matter?” Struth responds, “I think what connects them is the question I have them pose to the public—and to myself, since I’m also part of the audience. And that question is: What are we doing here?” Featured image is from a series of studies of people on the street, Düsseldorf, 1973-74. See more Staff Favorite Holiday Gift Books > > here! > > continue to blog
“National Gallery 1, London” (1989) from Thomas Struth’s Museum Photographs series, is reproduced from the largest and most comprehensive survey of the artist’s work to date. “What lends Struth’s pictures their own individual and unmistakable character are the questions that he poses to us,” Thomas Weski writes, “questions about the relevance of public space, about the connecting moment of the cohesion of families, about the meaning of nature and culture, about the limits and possibilities of new technologies. Struth succeeds in realizing fundamental themes, such as the instability of societal structure or the fragility of human existence, in pictures of high formal elegance, which evoke simultaneously participation and empathy and permit beholders to become partners in the working through of social, ethical, and human values.” See more Staff Favorite Holiday Gift Books > > here! > > continue to blog
FORMAT: Hbk, 10 x 12.5 in. / 320 pgs / 401 color. LIST PRICE: U.S. $85.00 LIST PRICE: CANADA $112.5 ISBN: 9781942884224 PUBLISHER: D.A.P. AVAILABLE: 10/24/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by D.A.P.. Edited with text by Thomas Weski, Ulrich Wilmes. Text by Jana-Maria Hartmann. Interview by Okwui Enwesor.
"With his largest, most revealing retrospective and a major traveling exhibition, German photographer Thomas Struth’s continuing evolution is on display.” –Carol Kino, Wall Street Journal
Since the 1990s, Thomas Struth has been one of the best-known and internationally successful photographers of the German art scene. Struth studied painting under Gerhard Richter and photography under Bernd and Hilla Becher, a combination that decisively influenced his vision.
This volume is a compilation of representative photographs from each series of works in Struth’s oeuvre: street photographs from the 1970s and ‘80s; empathetic portraits (particularly of families); large-format “museum photographs”; nature studies; jungle photographs (New Pictures from Paradise); and, from the latest series, images from the world of science. As this compendium of his work shows, Struth has succeeded in setting new aesthetic standards thanks to his great precision, chromatic clarity, sound sense of composition and intellectual profundity.
Thomas Struth (born 1954) studied with the Bechers at the Düsseldorf Academy of Art. Struth is today a leading figure in German arts and international photography. He lives in Berlin and is represented in the US by Marian Goodman Gallery.
