ARCHIVE MATRIX ASSEMBLY

ARCHIVE MATRIX ASSEMBLY

ARCHIVE MATRIX ASSEMBLY

ARCHIVE MATRIX ASSEMBLY

ARCHIVE MATRIX ASSEMBLY

AUTHOR: NANA LAST

Archive Matrix Assembly:
The Photography of Thomas Struth 1978–2018.

Archive Matrix Assembly:
The Photography of Thomas Struth 1978–2018.

Archive Matrix Assembly:
The Photography of Thomas Struth 1978–2018.

Archive Matrix Assembly:
The Photography of Thomas Struth 1978–2018.

Archive Matrix Assembly:
The Photography of Thomas Struth 1978–2018.

BUY
Archive-Matrix-Assembly_1

Unfolding across four decades, the range of subject matter and diversity of images that constitute German artist Thomas Struth’s body of photographs stretches out I waves- scenes of uninhabited urban streets are followed by those of families in their homes, people viewing artworks in museums, expanses of untouched wilderness, the space shuttle, Disneyland rides, patients in the operating room, entangled masses of wires, gauges, pipes, circuits, and other technological devices, and, most recently, deceased animals at a zoological lab. Begun in the late 1970s, the core of this vast undertaking lies in four clearly defined and methodically produced photographic archives of discrete subject matter: street-scapes, portraits, museums, and landscapes. Producing myriad variations along the way, by the early 2000s, this originating work reached a critical moment in its development, an inflection point. At this juncture, it stood poised to do one of two things: continue indefinitely in the same vain, introducing new series while adding images to existing ones, or altering the very terms that define the conception, focus, and amassing of his photographic production. What follows testifies to the latter, as the past decade has ushered in a proliferation of photographs that repeatedly lay claim to unexpected terrain. (…)

Main-page-1
Main-page-2

Across this span of work, from its inception through its current undertakings, the extensive range of Struth’s photography exhibits two competing pulls: a simultaneous deep commitment to its subject matter and repeated shifts in topic and approach. The interchange of these tendencies suggests a number of questions: What forms of relationsexist between individual photographs or series of photographs? What does the multiplicity and evolution of series disclose about the work? And how does the incremental accrual of images construct meaningful associations on the one hand, while directing the production of future images on the other? 

Main-page-4
Main-page-3

 “The first comprehensive, systematic theory of contemporary German artist Thomas Struth’s main body of photographic work from its beginnings in the late 1970s” 

5
3
9
BUY

Selected Works

Colors of RhetoricMaría Fullaondo

Koolhass For PradaProject type

BRACKETNeeraj Baathia, Mason White

Be SeatedJohn Lin, Sony Devabhaktuni

Colors of RhetoricMaria Fullaondo

Social UrbanismProject type

GRID 5Project type

CONTACT US
USA - San Francisco Bay Area
Tel: +1(415) 883-3300
USA - New York
Tel: +1(646) 322-2466
Asia - Singapore & China
Tel: +(65) 9068-1860
Tel: +(86) 755-84556863

CONTACT US
USA - San Francisco Bay Area
Tel: +1(415) 883-3300
Asia - Singapore & China
Tel: +(65) 9068-1860
Tel: +(86) 755-84556863

CONTACT US
USA - San Francisco Bay Area
Tel: +1(415) 883-3300
USA - New York
Tel: +1(646) 322-2466
Asia - Singapore & China
Tel: +(65) 9068-1860
Tel: +(86) 755-84556863

© 2022 Applied Research And Design / ORO Editions. All Rights Reserved.

Generic selectors
Exact matches only
Search in title
Search in content