A new ed. of Struth's "Museum photographs", adding 26 additional images which include pictures of artworks at their original locations.

Mundane buildings, nondescript streets, anonymous facades--these are the features that first strike in viewing Thomas Struth's pictures of streets--"unconscious places". Both in black-and-white and in color, Struth uses a frontal, eye-height view, with no optical distortion to disrupt the impression that what we see is a neutral, objective recording of reality. At the same time, Struth's urban landscapes are also a critical depiction of different human habitats. This volume presents a comprehensive survey of Struth's street views from the 1970s to 2010: narrow lanes in Edinburgh, Wuhan, Naples, and Erfurt; satellite towns in Paris, Leverkusen, Chicago, and Pyongyang; thoroughfares in Brussels, Lima, and Los Angeles; grand boulevards in St. Petersburg, New York City, and Beijing. Frequently there is an almost total absence of people in his cityscapes, which provides a feeling of desolation. In contrast, his famous Shibuya Crossing, Tokyo, is bustling with people and billboards.

This catalogue accompanies a touring exhibition held at Museum Folkwang, Essen, Germany on March 4-May 29, 2016, at Martin-Gropius Bau, Berlin, Germany on June 11-September 18, 2016, at High Museum, Atlanta, Georgia on October 16, 2016-January 8, 2017, and at St Louis Art Museum, St Louis, Missouri in Fall 2017.

Archive, Matrix, Assembly: The Photographs of Thomas Struth 1978-2018' presents the first comprehensive, systematic theory of contemporary German artist Thomas Struth's main body of photographic work from its beginnings in the late 1970s until his most recent work in 2018.0The book presents a unique, evolutionary understanding of the work, proposing that it has established three stages of production: archive, matrix, and assembly. Together the three stages form a developmental system that characterises the individual photographs, their relation to their subject matter, and how they form larger, significant collections of images. In covering all phases of the artist's work, it also develops a comprehensive critical reading of the work, serves as a monograph of the artist, and provides an extensive analysis of the photographs at all stages, including the less discussed, more recent photography, which is placed on par with his earlier work for which Struth first became internationally renowned.

Tiré du site Internet d'Ivorypress: "The latest title of the LiberArs series is dedicated to German artist Thomas Struth (Geldern, 1954), regarded as one of the most prominent contemporary artists, who with the title walking makes us participants of a powerful reflection on architecture and its evocative power. Walking through the streets of different places and countries, Struth fixes his gaze on how architectural spaces inform us about the stances taken by their inhabitants to populate them. Decisions that create the structure and soul of cities. Images that represent a particular way of looking at what is around us. The photographs that are comprised by this project were taken in Berlin, Bethlehem (New Hampshire), Corrubedo, Düsseldorf, Munich, New York, Potsdam and Zürich."

"A central figure of the new wave of German photography that first arrived in the 1970s, Thomas Struth has continued to have an impact on the world of photography with his large-scale museum interiors, portraits, and architectural photography. Struth has emerged as one of the most compelling voices in contemporary art's critique of the subject and the socio-economic order by creating images that are at once visually arresting and subtly political. This new monograph presents another facet of Struth's oeuvre, assembling a series of flower and landscape photographs produced for a unique project. In 1991, Struth was commissioned to decorate a new hospital in Winterthur, Switzerland. He decided to photograph one large-scale landscape and additional individual plants and flowers for each of the 37 patient rooms. The flower and plant photographs were to be hung on the wall behind the bed, the landscape on the opposite wall. He took the photographs between 1991 and 1993, in the immediate vicinity of Winterthur and the hospital itself: views out over the Thur Valley and the vineyards in the countryside around Zurich, the edges of forests, country lanes, as well as buds, twigs, leaves and withered blooms from the hospital's own garden. With this project, Struth hoped to bring the captivating environment of the Winterthur area into the interior space of the hospital, connecting patients to the outside world."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved