Thomas struth photographer biography book list

Struth was a fundamental player in elevating the status of photography to new heights of artistic credibility. Known for his observational approach and the sheer scale of his images, which are on a par with historical painting, he uses his camera as a means of presenting his audience with what he has called "the undeniable truth of what is in front of you.

Best known for his photographic "series" - street, audience, family portrait and new technologies series - Struth has a strong nomadic streak and has travelled to the corners of the world for his art. More recently, Struth has undertaken expeditions into densely overgrown tropical forests and jungles to produce images he has called perhaps with a little irony "new pictures from paradise.

Photographed from a central perspective - somewhere between a vehicle and pedestrian perspective - Struth's photograph displays little by way of intrusive stylistic application in favor of a stronger focus on documentation. There is an impersonal, truthful, quality to an image process that Struth has called "monumental emotional packages of overwhelming experience.

The foreshortened road draws the eye to the lower portion of the photograph, and in so doing, the height of the buildings are emphasized. Struth then presents a different perspective on a Manhattan typically perceived of at street level as an energetic metropolis. The building at the centre-left of the frame, to so-called "lollipop" building, meanwhile, caused considerable debate amongst architects and city officials who could not agree on whether Edward Durell Stone's design amounted to a pastiche or a bone-fide Modernist statement.

Thomas Struth has 50

Following his early black-and-white series of empty cityscapes, Struth began work on arguably his best-known cycle: the Museum Photographs in His Museum series featured large color photographs of people observing art in museum, gallery, and church spaces. Although his compositions comply with spontaneous snapshot aesthetic, Struth's approach was studied and designed to ensure that he captured the most appropriate art space dynamic.

National Gallery 1 depicts visitors standing before three paintings, with Cima's Incredulity of St. Thomas occupying centre frame. Seen in various states of contemplation, Struth's photograph highlights the interaction or lack of between visitor and painting in the hallowed gallery context. The museum experience became a frequent focus for Struth who was disturbed by the visitors' habit of taking "pictures-of-pictures" with their phones.