27 January 2014
Over the years, Thomas Struth has explored a remarkable range of subjects: big cities, natural landscapes, works of art, human figures. Distinguishing himself from the all-embracing gaze of Andreas Gursky and the growing antirealism of Thomas Ruff, both of them fellow students at Bernd and Hilla Becher’s school in Düsseldorf, Struth often evokes in his pictures the very act of seeing and representing, devoting ample space to the great architecture of the past and to museums in various parts of the world. In the exhibition at the Marian Goodman Gallery his most recent works are on show, in two separate series presented side-by-side: interiors of technological facilities and panoramic views of Disney’s theme parks in the Los Angeles area. Science and technology as realities as invisible as they are omnipresent in our lives, and theme parks as substitutes that shape our fantasy. In an age in which technology makes entertainment ever more physical and enveloping, Struth seeks in the two extremes of innovation and amusement the roots of the evolution of our ability to imagine.
Thomas Struth
Marian Goodman Gallery
New York
January 10 – February 22, 2014
Thomas Struth, Ulsan 2, Lotte Hotel, Ulsan, 2010.
Thomas Struth, Mountain, Anaheim, California, 2013.
Thomas Struth, Ride, Anaheim, California, 2013.
Thomas Struth, Canyon, Anaheim, California, 2013.
Thomas Struth, Hot Rolling Mill, ThyssenKrupp Steel, Duisburg, 2010.
Thomas Struth, Table 1, Georgia Tech, Atlanta, 2013.
Thomas Struth, Kovenskij Pereulok. St. Petersburg, 2005.
Thomas Struth, Blowout Preventer, Mountrail County, North Dakota, 2010
Thomas Struth, Measuring, Helmholtz-Zentrum, Berlin, 2012.
Thomas Struth, Golems Playground, Georgia Tech, Atlanta, 2013.
Thomas Struth, Figure, Charité, Berlin, 2012.