{"id":49523,"date":"2024-03-20T16:33:09","date_gmt":"2024-03-20T14:33:09","guid":{"rendered":"https:\/\/cycladic.gr\/ektheseis\/thomas-struth-2\/"},"modified":"2024-04-03T15:32:46","modified_gmt":"2024-04-03T13:32:46","slug":"thomas-struth-2","status":"publish","type":"exhibition","link":"https:\/\/cycladic.gr\/en\/ektheseis\/thomas-struth-2\/","title":{"rendered":"Thomas Struth"},"content":{"rendered":"
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Thomas Struth<\/h1>

CONTEMPORARY ART <\/p>

JUNE 16 UNTIL SEPTEMBER 14, 2009<\/p><\/header>

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THE EXHIBITION<\/h2> <\/header>\n\n \n
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\n In his first solo show in Greece, that took place at the Museum of Cycladic Art in 2009, there were presented twenty-nine photographs from all aspects of his work.\n <\/div>\n \n \n<\/div>\n\n <\/div>\n
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Selections from his Street and Landscape<\/em> series, the Paradise<\/em> series, as well as works from the artist\u2019s later cityscapes, where the viewer is confronted with monumental architectural sceneries, rendered in colour and varied moods. From the well-known large-scale Museum<\/em> and Chapel<\/em> series stand out the Mailander Dom (Fassade)<\/em> (Milan, 1998); San Zaccaria<\/em> (Venice, 1995); the Louvre 3<\/em> (Paris, 1989), and the Pergamon Museum 3<\/em> (Berlin, 2003), all landmarks of Struth\u2019s undisputable penetrating, contemplative vision.<\/p>\n

Since the late 1970s Thomas Struth (b. 1954) has been known for his architectural and urban photographs, portraits, landscapes, and museum interiors. Trained first in painting, he took up photography in 1974 and in 1976 he started his own systematic work on streets and architecture in different parts of the world entitled Unconscious Places<\/em>; small black and white pictures of deserted streets, combining the documentary precision of New Objectivity \u2013the German art movement of the early 20th century that entered the field of photography during the 1970s\u2013 with his personal vision of the conditions of public spaces and the history of the collective unconsciousness.<\/p>\n

This approach, along with his interest in painting and the question of the institutional representation of artworks, led the artist to the cycle of Museum Photographs from 1989 onwards. These photographs are philosophical essays on the relationship between the \u2018masterpiece\u2019 and the audience admiring it, the role of the museum, and that of the photographer, and the way we, as spectators, respond to the photographic image that combines all these relationships. At the turn of the century Struth explored dense landscapes of virgin forests in South and North America, in Asia, Australia and Europe, entitled New Pictures from Paradise.<\/em><\/p>\n\n \n <\/div>\n\n <\/div>\n <\/div>\n<\/section>\n\n

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IMAGES<\/h2> <\/header>\n\n
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01<\/div>
Shinju-Ku (Die Hochh\u00e4user), Tokyo 1986<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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02<\/div>
Restauratoren in San Lorenzo Maggiore, Neapel 1988<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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03<\/div>
Nanjing Xi Lu, Shanghai 1987<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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04<\/div>
Paradise 01 (Pilgrim Sands), Dailtree \/ Australien 1998<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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05<\/div>
Pergamon Museum 3, Berlin 2001<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n <\/div>\n <\/div>\n
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01<\/div>
Shinju-Ku (Die Hochh\u00e4user), Tokyo 1986<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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02<\/div>
Restauratoren in San Lorenzo Maggiore, Neapel 1988<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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03<\/div>
Nanjing Xi Lu, Shanghai 1987<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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04<\/div>
Paradise 01 (Pilgrim Sands), Dailtree \/ Australien 1998<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n
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05<\/div>
Pergamon Museum 3, Berlin 2001<\/div>
\u00a9 Thomas Struth<\/div><\/div>\n\n <\/div>\n\n <\/div>\n
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