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

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.

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.

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

Who Says, Who Shows, What Counts invites readers to think critically about how artists, artworks, and museums engage with narratives of the past. Richly illustrated and written for a general audience, this book showcases the depth and breadth of more than fifty recent acquisitions to the Block Museum of Art's contemporary collection, including a wide-ranging selection of works by Dawoud Bey, Shan Goshorn, the Guerrilla Girls, Marisol, Kerry James Marshall, Catherine Opie, Man Ray, Cindy Sherman, Thomas Struth, Tseng Kwong Chi, and Kara Walker, among other artists. The book is a companion publication to the 2021 exhibition of the same name, presented to celebrate the museum's fortieth anniversary, and both draw inspiration from a work by conceptual artist Louise Lawler, Who Says, Who Shows, Who Counts (1990), and are organized around challenging questions of historical representation within artworks and institutions: How can art help us reflect upon, question, rewrite, or reimagine the past? Who has been represented in visual art, how, and by whom? How is history etched onto a landscape or erased from it? How do museums and dominant canons of art history shape our view of history and of the past? Who Says, Who Shows, What Counts demonstrates how an academic art museum's collection can facilitate multidisciplinary connections and tell stories about issues relevant to our lives.

Stephen Shore's Uncommon Places is indisputably a canonic body of work--a touchstone for those interested in photography and the American landscape. Remarkably, despite having been the focus of numerous shows and books, including the eponymous 1982 Aperture classic (expanded and reissued several times), this series of photographs has yet to be explored in its entirety. Over the past five years, Shore has scanned hundreds of negatives shot between 1973 and 1981. In this volume, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures to select ten images apiece from this rarely seen cache of images. Each portfolio offers an idiosyncratic and revealing commentary on why this body of work continues to astound; how it has impacted the work of new generations of photography and the medium at large; and proposes new insight on Shore's unique vision of America as transmuted in this totemic series. Texts and image selections by Wes Anderson, Quentin Bajac, David Campany, Paul Graham, Guido Guidi, Takashi Homma, An-My Leê, Michael Lesy, Hans Ulrich Obrist, Francine Prose, Ed Ruscha, Britt Salvesen, Taryn Simon, Thomas Struth, and Lynne Tillman

Introduction by Justine KurlandEssay by Thomas StruthJanice Guy weaves together thirty photographs from two distinct moments of Janice Guy¿s output as an artist: it re-presents a group of works that were produced and exhibited between 1975 and 1980, interspersing them with newly printed pictures selected from her archive during our research for the book.