DOCSLIB.ORG

Listed Exhibitions (Selected)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Listed Exhibitions (Selected) G A G O S I A N G A L L E R Y Thomas Ruff Biography Born in 1958 in Zell am Harmersbach, Germany. Lives and works in Düsseldorf, Germany. Education: 1977–85 Staatliche Kunstakademie, Düsseldorf, Germany. Selected Solo Exhibitions: 2016 Thomas Ruff: Object Relations. Art Gallery of Ontario, Toronto, Canada. 2015 Thomas Ruff: Nature Morte. Gagosian Gallery, Davies Street, London, England. 2014 Thomas Ruff: Photograms and Negatives. Gagosian Gallery, Beverly Hills, CA. Thomas Ruff: Lichten. S.M.A.K., Ghent, Belgium. Traveled to Kunsthalle Dusseldorf, Dusseldorf, Germany. 2013 Thomas Ruff: photograms and ma.r.s.. David Zwirner, New York, NY. Thomas Ruff: ma.r.s.. Galeria Helga de Alvear, Madrid, Spain. Thomas Ruff: New Works. Galerie Konrad Fischer, Düsseldorf, Germany. *Thomas Ruff: Series. Sala Alcalá 31, Madrid, Spain. Thomas Ruff: j_m_s_s_z. Galleria Lia Rumma, Milan, Italy. Thomas Ruff: photograms. Johnen Galerie, Berlin, Germany. 2012 Thomas Ruff: Haus der Kunst, Munich, Germany. Thomas Ruff: Nudes. Gagosian Gallery, Davies Street, London, England. Thomas Ruff: m.a.r.s.. Gagosian Gallery, Britannia Street, London, England. 2011 MCA DNA: Thomas Ruff. Museum of Contemporary Art, Chicago, Chicago, IL. *Thomas Ruff. m.a.r.s.. Centro de Arte Contemporáneo de Málaga, Málaga, Spain. *Thomas Ruff. Stellar Landscapes. Westfälisches Landesmuseum, Münster, Germany. Thomas Ruff: ma.r.s., Mai 36, Zürich, Switzerland. 2010 Thomas Ruff. David Zwirner, New York, NY. Thomas Ruff. Johnen Galerie, Berlin, Germany. Thomas Ruff. Palazzo Buonamici; Biblioteca Comunale Istituto Culturale e di Documentazione Lazzerini; Dryphoto arte contemporanea, Prato, Italy; Biblioteca Comunale Bartolomeo Della Fonte, Villa Giamari, Montemurlo, Italy; Spazio d’arte Alberto Moretti/Schema, Polis, Carmignano, Italy. 2009 *Thomas Ruff. Schwarzwald. Landschaft. Museum für Neue Kunst, Freiburg, Germany. 2008 Thomas Ruff: A Retrospective. Mücsarnok Kunsthalle, Budapest, Hungary. 2007 Thomas Ruff. David Zwirner, New York, NY. Thomas Ruff: Jpegs. Moderna Museet, Stockholm, Sweden. The Sprengel Project. Sprengel Museum, Hanover, Germany. 1 2006 Thomas Ruff: Jpegs. Johnen Galerie, Berlin, Germany. 2005 Thomas Ruff: Jpegs. David Zwirner, New York, NY. 2004 *Thomas Ruff: Les Oeuvres de la Collection Pierre Huber. Musée d’Art Moderne et Contemporain, Geneva, Switzerland. Thomas Ruff: Neue Arbeiten. Contemporary Fine Arts, Berlin, Germany. 2003 Thomas Ruff. Busan Metropolitan Art Museum, Busan, South Korea. *Thomas Ruff: Hans-Thoma-Preis 2003. Hans-Thoma-Museum, Bernau, Germany. Thomas Ruff: New Work. David Zwirner, New York, NY. *Thomas Ruff: Nudes und Maschinen. Kestner Gesellschaft, Hanover, Germany. 2002 Identificaciones. Museo Tamayo Arte Contemporáneo, Mexico City, Mexico. 2001–04 Thomas Ruff: Photographs 1979 to Present. Staatliche Kunsthalle Baden- Baden, Germany; Museet for Samtidskunst, Oslo, Norway; Museum Folkwang, Essen, Germany; Städtische Galerie im Lenbachhaus, Munich, Germany; Irish Museum of Modern Art, Dublin, Ireland; Artium Centro-Museo Vasco de Arte Contemporáneo, Vitoria Gasteiz, Spain; Museu Serralves, Porto, Portugal; Tate Liverpool, Liverpool, England; Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland. 2001 Thomas Ruff. David Zwirner, New York, NY. Thomas Ruff. Chabot Museum, Rotterdam, Netherlands. 2000 *l.m.v.d.r.—thomas ruff. Museum Haus Esters, Haus Lange, Krefeld, Germany; Contemporary Fine Arts, Berlin, Germany; Galeria Estrany De La Mota, Barcelona, Spain. Thomas Ruff. Contemporary Fine Arts, Berlin, Germany. 1999 Thomas Ruff. Galerie Johnen und Schöttle, Cologne, Germany. 1998 Thomas Ruff. 303 Gallery, New York, NY. Thomas Ruff. Contemporary Fine Arts, Berlin, Germany. 1997 *Oeuvres 1979-97. Centre national de la photographie, Paris, France. 1996 Thomas Ruff. Andere Porträts und 3D. 303 Gallery, New York, NY. 1995 *Thomas Ruff. Andere Porträts und 3D. German Pavilion, Venice Biennale, Venice, Italy. 1994 Thomas Ruff. White Cube, London, England. 1993 Thomas Ruff. 303 Gallery, New York, NY. 1992 *Thomas Ruff. Museum für Moderne Kunst, Frankfurt, Germany. 1991 Thomas Ruff: Portraits. The Museum of Contemporary Photography, Chicago, IL. 1990 Thomas Ruff: Stars. Stuart Regen Gallery, Los Angeles, CA. 1989 *Junge Leute. Goethe Institut, Munich, Germany. *Porträts, Häuser, Sterne. Stedelijk Museum, Amsterdam; Le Magasin Centre National d’art Contemporain, Grenoble, France; Kunsthalle Zürich, Zürich, Switzerland. Selected Group Exhibitions: 2016 Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker. National Gallery of Art, Washington, D.C. Pandora’s Box: Jan Dibbets on Another Photography. Musée d’art Moderne de la Ville de Paris, Paris, France. 2 2015 Ce fabuleux monde moderne. MAC Lyon, Lyon, France. Facing History: Contemporary Portraiture. Victoria & Albert Museum, London, England. The Mannequin of History: Art After Fabrications of Critique and Culture. Expo 2015 Modena, Modena, Italy. Theories on Forgetting. Gagosian Gallery, Beverly Hills, CA. Under the Clouds: From Paranoia to the Digital Sublime. Museu Serralves, Porto, Portugal. Perfect Likeness: Photography and Composition. Hammer Museum, Los Angeles, CA. Colección Jumex, In Girum Imus Nocte et Consumimur Igni. Museo Jumex, Mexico City, Mexico. Landscape in my Mind. Bank Austria Kunstforum, Vienna, Austria. The war which is coming is not the first one. Great war 1914-2014. MART- Museo d'Arte Moderna e Contemporanea di Trento e Rovereto, Italy. Don't Shoot the Painter: Paintings from the UBS Art Collection. GAM - Galleria d’Arte Moderna di Milano, Milan, Italy. The Order of Things: Photography from The Walther Collection Sense Uncertainty: A Private Collection. Kunsthaus Zürich, Switzerland. 2014 Damage Control: Art and Destruction Since 1950. Kunsthaus Graz, Austria. CLEAR. Gagosian Gallery, Beverly Hills, CA. 2013 Concrete—Fotografie und Architektur. Fotomuseum Winterthur, Winterthur Switzerland. Starin Back. The Museum of National Taipei University of Education (MoNTUE), Taipei, Taiwan. Des images comme des oiseaux. CNAP. Centre national des arts plastiques, Paris, France. The Photographic Eye / L’œil photographique. Frac Auvergne, Clermont- Ferrand, France. Cross Over—Fotografie der Wissenschaft + Wissenschaft der Fotografie. Fotomuseum Winterthur, Winterthur, Switzerland. 2012 Malerei in Fotografie. Städel Museum, Frankfurt, Germany. Skyscraper: Art and Architecture Against Gravity. Museum of Contemporary Art Chicago, Chicago, IL. Lost Places—Orte der Fotografie. Hamburger Kunsthalle, Hamburg, Germany. Faking It—Manipulated Photography before Photoshop. The Metropolitan Museum of Art, New York, NY. 2011 *Jeff Wall. The Crooked Path. Centre for Fine Arts (BOZAR), Brussels, Belgium. Conversations: Photography from the Bank of America Collection. Museum of Fine Arts Boston, Boston, MA. * Weltraum. Die Kunst ein Traum (Space. About a Dream). Kunsthalle Wien, Vienna, Austria. *Photography Calling. Sprengel Museum, Hannover, Germany. 2010 *Atlas. How to Carry the World on One’s Back? Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany; Sammlung Falckenberg, Hamburg, Germany. *Exposed: Voyeurism, Surveillance and the Camera. Tate Modern, London, England.; San Francisco Museum of Modern Art, San Francisco, CA; Walker Art Center, Minneapolis, MN. 3 2009 *Art of Two Germanys/Cold War Cultures. Los Angeles County Museum of Art, Los Angeles, CA; Germanisches Nationalmuseum, Nuremberg, Germany; Deutsches Historisches Museum, Berlin, Germany. DIE KUNST IST SUPER!. Nationalgalerie im Hamburger Bahnhof Museum für Gegenwart—Berlin, Berlin, Germany. 2008 *Archive Fever: Uses of the Document in Contemporary Art. International Center of Photography, New York, NY. Photography on Photography: Reflections of the Medium since 1960. The Metropolitan Museum of Art, New York, NY. That Was Then…This Is Now. P.S.1 Contemporary Art Center, Long Island City, NY. 2007 Contemporary Outlook: German Photography. Museum of Fine Arts Boston, Boston, MA. Depth of Field: Modern Photography at the Metropolitan. The Metropolitan Museum of Art, New York, NY. 2006 *Click Doubleclick: Das dokumentarische Moment. Haus der Kunst, Munich; Centre for Fine Arts, Brussels, Belgium. Ecotopia: The Second ICP Triennial of Photography and Video. International Center of Photography, New York, NY. *Super Vision. Institute of Contemporary Art, Boston, MA. 2005 *The Experience of Art. Venice Biennale, Venice, Italy. *Flashback. Eine Revision der Kunst der 80er Jahre/Revisiting the Art of the 80s. Kunstmuseum Basel—Museum für Gegenwartskunst, Basel. *Zur Vorstellung des Terrors: Die RAF-Ausstellung. KW Institute for Contemporary Art, Berlin, Germany; Neue Galerie Graz, Graz, Austria. 2004 *Friedrich Christian Flick Collection. Hamburger Bahnhof—Museum für Gegenwart, Berlin, Germany. Metamorph. Trajectories, 9th International Architecture Exhibition. Venice Biennale, Venice, Italy. 2003 *The Last Picture Show: Artists Using Photography, 1960-1982. Walker Art Center, Minneapolis, MN. *Moving Pictures: Contemporary Photography and Video from the Guggenheim Museum Collections. Solomon R. Guggenheim Museum, New York, NY; Guggenheim Bilbao, Bilbao, Spain. *Zehn Jahre. Museum für Moderne Kunst, Frankfurt, Germany. 2001 *Mies in Berlin. The Museum of Modern Art, New York, NY. Picturing Media: Modern Photographs from the Collection. The Metropolitan Museum of Art, New York, NY. 1999 *Das XX. Jahrhundert. Ein Jahrhundert Kunst in Deutschland.
Load more

Recommended publications
  • Candida Höfer: in Italy May 25Th – July 10Th, 2010 Private View May 24Th , 2010 6 – 8Pm
    Press Release for Immediate Release Candida Höfer: In Italy May 25th – July 10th, 2010 Private View May 24th , 2010 6 – 8pm Ben Brown Fine Arts is pleased to announce a solo exhibition of works by internationally-renowned German photographer Candida Höfer running from May 25th to July 10th at Ben Brown Fine Arts (301 Pedder Building, 12 Pedder Street, Central, Hong Kong). Candida Höfer’s exhibition will mark the first solo show for the Pedder gallery, following the close of Ben Brown Fine Art’s successful pop up exhibition space in ifc mall. Candida Höfer photographs rooms in public places regarded as pivotal centres of cultural life, such as libraries, museums, theaters, universities, as well as historic houses and palaces, most notably the palace of Versailles in France. Each meticulously composed space is marked with the richness of human activity, yet largely devoid of human presence. Largely hailed by the European vanguards of art as one the greatest architectural photographers, Höfer’s rhythmically patterned images present a universe of interiors constructed by human intention, unearthing patterns of order, logic, and disruption imposed on these spaces by absent creators and inhabitants. The artist rigorously numbers and arranges her works according to size and dimensions, in line with the teachings of the Düsseldorf Art Academy's renowned professors Bernd and Hilla Becher. “I photograph in public and semi-public spaces that date from various epochs. These are spaces available to everyone. They are places where you can meet and communicate, where you can share or receive knowledge, where you can relax and recover.” Candida Höfer Candida Höfer – Biography Candida Höfer lives and works in Cologne.
    [Show full text]
  • Ut Pictora Poesis Hermann Hesse As a Poet and Painter
    © HHP & C.I.Schneider, 1998 Posted 5/22/98 GG Ut Pictora Poesis Hermann Hesse as a Poet and Painter by Christian Immo Schneider Central Washington University Ellensburg, WA, U.S.A. Hermann Hesse stands in the international tradition of writers who are capable of expressing themselves in several arts. To be sure, he became famous first of all for his lyrical poetry and prose. How- ever, his thought and language is thoroughly permeated from his ear- liest to his last works with a profound sense of music. Great art- ists possess the specific gift of shifting their creative power from one to another medium. Therefore, it seems to be quite natural that Hesse, when he had reached a stage in his self-development which ne- cessitated both revitalization and enrichment of the art in which he had thus excelled, turned to painting as a means of the self expres- sion he had not yet experienced. "… one day I discovered an entirely new joy. Suddenly, at the age of forty, I began to paint. Not that I considered myself a painter or intended to become one. But painting is marvelous; it makes you happier and more patient. Af- terwards you do not have black fingers as with writing, but red and blue ones." (I,56) When Hesse began painting around 1917, he stood on the threshold of his most prolific period of creativity. This commenced with Demian and continued for more than a decade with such literary masterpieces as Klein und Wagner, Siddhartha, Kurgast up to Der Steppenwolf and beyond.
    [Show full text]
  • Download the No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff Gallery Guide As A
    Karl Blossfeldt (1865–1932) Unless otherwise indicated, the photographs by Karl Blossfeldt are from the holdings of the Karl Blossfeldt Archive/Ann and Jürgen Wilde Foundation, Pinakothek der Moderne, Munich. All photographs are vintage gelatin silver No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff prints; they were created over a period of three and a half decades, from CONTEMPORARY ARTS CENTER 1898 to 1932. Dates provided are approximations based on publication dates. The prints were probably made in the 1920s in the context of September 21, 2018–January 13, 2019 exhibitions and the first editions of Blossfeldt’s books Urformen der Kunst Curated by Ulrike Meyer Stump, FotoFocus Guest Curator and Independent (1928, translated as Art Forms in Nature, 1929) and Wundergarten der Curator and Lecturer, Zurich University of the Arts Natur (1932, translated as Art Forms in Nature. Second Series, 1932). Plate Silphium laciniatum. Rosinweed, compass plant, prior to 1928 numbers refer to these two publications. With few exceptions all the motifs Gelatin silver print 13 7 or variants thereof were on display in the 1929 Warren Gallery show. 11 /16 × 9 /16 in. (29.7 × 23.7 cm) No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff is a curated exhibition for the 2018 Variant of Art Forms in Nature, pl. 41 FotoFocus Biennial: Open Archive. Now in its fourth iteration, the Biennial spans over 90 projects at museums, galleries, and universities across Greater Cincinnati; Northern Kentucky; Dayton and Columbus, Ohio; and features more than 400 artists, curators, and educators. The Open Archive theme emphasizes the centrality of photography and lens-based art to modernism, and examines our fundamental need to preserve photographs and to tell stories through their collection, organization, and interpretation.
    [Show full text]
  • Press Release Thomas Ruff
    Grabbeplatz 4 D-40213 Düsseldorf Tel. +49 (0)211 8996243 Fax +49 (0)211 8929168 [email protected] www.kunsthalle-duesseldorf.de Thomas Ruff Lichten 20 September 2014 – 11 January 2015 Kunsthalle Düsseldorf is presenting an exhibition of works by the German photographer Thomas Ruff (b. 1958, Zell am Harmersbach), a leading figure of the Düsseldorf School of Photography. ‘ Lichten ’ shows examples of five of the artist's series, covering the last 35 years, from the late 1970s to the present: from a semi-documentary approach to a post-digital photographic strategy, from natural to virtual light. The exhibition is centred on two new series by Ruff: ‘ Phg ’ (Photograms, started in 2012), a virtual simulation of the classical genre of the photogram, and ‘ Negative ’ (started in 2014), in which the artist reaches back to photography's roots in the 19 th century. In addition, the exhibition presents excerpts from ‘Sterne ’ (1989-1992), ‘ Nächte ’ (1992-1996) and his first series, ‘ Interieurs ’ (1979-1983). Technical considerations, rendered in images of stars at night, infrared shots of city suburbs and domestic still lifes, provide a political and social perspective on the status of images. In its historical span, the show extends beyond the limitations of analogue photography with the seemingly limitless possibilities of contemporary image production. Instead of photographing our daily reality, Ruff focuses on portraying the realities of photography. His working process is based on the methodology of what was called a "scientific artist". In each of his series Ruff uses the medium of photography to undertake a systematic analysis through which social, political and aesthetic aspects of image-making are reflected, and thus also the history of Modernity.
    [Show full text]
  • Thomas Ruff at K20 As of September 12, 2020
    Press Release Stiftung Kunstsammlung 20. August 2020 Nordrhein-Westfalen Page 1/4 Grabbeplatz 5 40213 Düsseldorf +49 (0) 211 83 81 730 [email protected] Thomas Ruff at K20 as of September 12, 2020 With the exhibition Thomas Ruff, the Kunstsammlung Nordrhein-Westfalen presents a comprehensive overview of one of the most important representatives of the Düsseldorf School of Photography. The exhibition ranges from series from the 1990s, which document Ruff’s unique conceptual approach to photography, to a new series that is now being shown for the first time at K20: For Tableaux chinois, Ruff drew on Chinese propaganda photographs. Parallel to Thomas Ruff’s exhibition, the Kunstsammlung Nordrhein-Westfalen is also presenting highlights from the collection at K20 under the title Technology Transformation. Photography and Video in the Kunstsammlung, which also deals with artistic photography and technical imaging processes in art. “With his manipulations of photographs from many different sources, Thomas Ruff comments in an incredibly clever way on how we see images in a digitalized world. Through his virtuoso handling of digital image processing, he confronts us with a critical examination of the image material he uses and its historical, political, and epistemological significance. Some of his most important series are represented in our collection, and we are very proud to dedicate a large-scale exhibition at K20 to this prominent representative of the Düsseldorf School of Photography,” states Susanne Gaensheimer, Director of the Kunstsammlung Nordrhein-Westfalen. Thomas Ruff (b. 1958) is one of the internationally most important artists of his generation. Already as a student in the class of the photographers Bernd and Hilla Becher at the Düsseldorf Academy of Art in the early 1980s, he chose a conceptual approach to photography which is evident in all the workgroups within his multifaceted oeuvre and determines his approach to the most diverse pictorial genres and historical possibilities of photography.
    [Show full text]
  • Daxer & M Arschall 20 16
    XXIII Daxer & Marschall 2016 Recent Acquisitions, Catalogue XXIII, 2016 Barer Strasse 44 | 80799 Munich | Germany Tel. +49 89 28 06 40 | Fax +49 89 28 17 57 | Mob. +49 172 890 86 40 [email protected] | www.daxermarschall.com 2 Paintings, Oil Sketches and Sculptures, 1630-1928 My special thanks go to Simone Brenner and Diek Groenewald for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Martina Baumgärtel, John Bergen, Brigitte Brandstetter, Regine Buxtorf, Thomas le Claire, Sue Cubitt, Francesca Dini, Marina Ducrey, Isabel Feder, Sabine Grabner Sibylle Gross, Mechthild Haas, Frode Haverkamp, Kilian Heck, Ursula Härting, Jean-François Heim, Gerhard Kehlenbeck, Michael Koch, Rudolf Koella. Miriam Krohne, Bjørn Li, Philip Mansmann, Marianne von Manstein, Dan Malan, Verena Marschall, Giuliano Matteucci, Hans Mühle, Werner Murrer, Anette Niethammer, Astrid Nielsen, Claudia Nordhoff. Otto Naumann, Susanne Neubauer, Marcel Perse, Max Pinnau, Mara Pricoco, Katrin Rieder, Herbert Rott, Hermann A. Schlögl, Arnika Schmidt, Annegret Schmidt-Philipps, Ines Schwarzer, Atelier Streck, Caspar Svenningsen, Jörg Trempler, Gert-Dieter Ulferts, Gregor J. M. Weber, Gregor Wedekind, Eric Zafran, Wolf Zech, Christiane Zeiller. Our latest catalogue Paintings, Oil Sketches and Unser diesjähriger Katalog Paintings, Oil Sketches and Sculptures erreicht Sculptures appears in good time for TEFAF, The sie pünktlich zur TEFAF, The European Fine Art Fair in Maastricht. European Fine Art Fair in Maastricht. Viele Werke kommen direkt aus privaten Sammlungen und waren seit Jahren, Many of the works being sold come directly from manchmal Jahrzehnten nicht mehr auf dem Markt.
    [Show full text]
  • Words Without Pictures
    WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine
    [Show full text]
  • Thomas Ruff: Photographs 1979 –2017 27 September 2017—21 January 2018 Media View: 26 September 2017, 10Am—Midday
    Thomas Ruff: Photographs 1979 –2017 27 September 2017—21 January 2018 Media View: 26 September 2017, 10am—Midday In autumn 2017, the Whitechapel Gallery presents the first major London retrospective of German artist Thomas Ruff. Thomas Ruff (b.1958, Zell am Harmersbach, Germany) began his career in the 1970s as a student at the renowned art school Staatliche Kunstakademie in Düsseldorf. Known for taking a critical, conceptual approach to photography, Ruff explores themes as diverse as utopianism, suburbia, advertising culture, pornography and surveillance. From the 1970s to today, Ruff has worked in series, with each body of work making use of different image-making technologies. The exhibition titled Thomas Ruff is curated by Whitechapel Gallery Director Iwona Blazwick. It is the artist’s first major London retrospective, and includes a number of his most recent works. Organised thematically, it begins with Ruff’s exploration of questions of scale, the cosmic and the everyday. On show in the ground floor gallery is L’Empereur (1982), a sequence of eight images which depict the artist in a range of exaggerated slumped poses with two chairs and a yellow floor lamp. Made while the artist was in Paris, Ruff turns the camera on himself and acts as a prop in a narrative still life. Porträts (Portraits) (1986–91; 1998–), Ruff’s series of passport-style portraits reproduced on a huge scale, reveal every surface detail of their subjects. These are displayed alongside Sterne (Stars) (1989–92), photographs taken by a high-performance telescope at the European Southern Observatory and two additional series Maschinen (Machines) (2003–) and m.a.r.s.
    [Show full text]
  • Kat. Lithographie 30.#1BF1E.Qxd
    . r J r e d i e n h c S . P . J www.j-p-schneider.com Editor: J. P. Schneider jr. Kunsthandlung Catalogue entries: Max Andreas (MA) Dr. Eva Habermehl (EH) Dr. Roland Dorn (RD) Translations: Bronwen Saunders Rossmarkt 23 Photography: D-60311 Frankfurt am Main Marthe Andreas +49 (0)69 281033 Layout and reproduction: [email protected] Michael Imhof Verlag, Petersberg www.j-p-schneider.com Print: Werbedruck GmbH Horst Schreckhase, Spangenberg © J. P. Schneider jr. Verlag 2017 ISBN 978-3-9802873-3-3 Prices on request German Catalogue available CONTENT Foreword .................................................................................... 7 17 Johann Heinrich Hasselhorst Bei Civita Castellana (Near Civita Castellana) ....................... 42 18 Eduard Wilhelm Pose 1 Johann Jakob Jung Römische Campagna mit Aquädukt Die Heilige Familie (The Holy Family) .................................... 8 (Campagna Romagna with Aqueduct) ................................... 44 2 Johann Rasso Januarius Zick 19 Carl Morgenstern Kreuzigung, Golgatha (Crucifixion, Golgotha) ........................ 10 Golf von Sorrent (Gulf of Sorrento) ........................................ 46 3 Wilhelm Altheim 20 Eduard Wilhelm Pose Der barmherzige Samariter (The Good Samaritan) .................. 12 Haus des Tasso, Sorrent (House of Torquato Tasso, Sorrento) .... 49 4 Joseph Carl Cogel(s) 21 Gustav Friedrich Papperitz Blick auf die Stadt Frankfurt am Main Abendliche Landschaft bei Rom mit Castel Gandolfo (View of the City of Frankfurt am Main) ...............................
    [Show full text]
  • Thomas Ruff, Object Relations, Art Gallery of Ontario, Toronto. April 28 to July 31, 2016 Jill Glessing
    Document generated on 10/01/2021 9:11 p.m. Ciel variable art, photo, médias, culture Thomas Ruff, Object Relations, Art Gallery of Ontario, Toronto. April 28 to July 31, 2016 Jill Glessing D’un angle décalé From Another Angle Number 104, Fall 2016 URI: https://id.erudit.org/iderudit/83702ac See table of contents Publisher(s) Les Productions Ciel variable ISSN 1711-7682 (print) 1923-8932 (digital) Explore this journal Cite this review Glessing, J. (2016). Review of [Thomas Ruff, Object Relations, Art Gallery of Ontario, Toronto. April 28 to July 31, 2016]. Ciel variable, (104), 88–89. Tous droits réservés © Les Productions Ciel variable, 2016 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ But beneath the portraits’ realism lies for contemporary photographic art, the perverse tendency of resistance a phenomenon that Ruff himself helped to authority: the evenly lit faces offer establish – and their blue tones that up every surface detail, yet their blank suggest the historical cyanotype process. expressions bar any deeper access. Inspiring these works, Ruff explained The series was made in the wake of during an exhibition tour, was his daugh- the “German Autumn,” when officials, ter’s unfamiliarity with what had been roused by the Baader-Meinhof Group, the master of almost all photographs were slipping toward a surveillance since 1835 – the negative.
    [Show full text]
  • Larry Johnson
    LARRY JOHNSON born 1959, Long Beach, CA lives and works in Los Angeles, CA EDUCATION 1984 MFA, California Institute of the Arts, Valencia, CA 1982 BFA, California Institute of the Arts, Valencia, CA SELECTED SOLO EXHIBITIONS (* indicates a publication) 2019 Larry Johnson & Asha Schechter, Jenny's, Los Angeles, CA 2015 *Larry Johnson: On Location, curated by Bruce Hainley and Antony Hudek, Raven Row, London, England 2009 *Hammer Museum, Los Angeles, CA 2007 Patrick Painter Inc., Santa Monica, CA Marc Jancou Contemporary, New York, NY 2001 New Photographs, Cohan, Leslie & Browne, New York, NY 2000 The Thinking Man’s Judy Garland and Other Works, Patrick Painter Inc., Santa Monica, CA Modern Art Inc., London, England 1998 Galerie Daniel Buchholz, Cologne, Germany I-20 Gallery, New York, NY Margo Leavin Gallery, Los Angeles, CA 1996 *Morris and Helen Belkin Art Gallery, The University of British Columbia, Vancouver, Canada 1995 Margo Leavin Gallery, Los Angeles, CA [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 1994 Margo Leavin Gallery, Los Angeles, CA 1992 Rudiger Shottle, Paris, France Patrick de Brok Gallery, Knokke, Belgium 1991 303 Gallery, New York, NY Rena Bransten Gallery, San Francisco, CA Johnen & Schottle, Cologne, Germany 1990 303 Gallery, New York, NY Galerie Isabella Kacprzak, Cologne, Germany Stuart Regen Gallery, Los Angeles, CA 1989 303 Gallery, New York, NY 1987 Le Case d’ Arte, Milan, Italy 303 Gallery, New York, NY Galerie Isabella Kacprzak, Stuttgart, Germany Kuhlenschmidt/Simon Gallery, Los Angeles, CA 1986 303 Gallery, New York, NY SELECTED GROUP EXHIBITIONS (* indicates a publication) 2021 Winter of Discontent, 303 Gallery, New York, NY The Going Away Present, Kristina Kite Gallery, Los Angeles, CA 2020 Made in L.A.
    [Show full text]
  • Issue 03 Madrid
    3 Voices of Contemporary Art and Culture Content Tal R p.2 Anna-Sophie Berger p.3 Daniel Domig p.4 Esther Stocker p.5 Lúa Coderch p.6 Rosa Lleó p.8 Jorge Pardo p.9 Teresa Estapé p.9 Joëlle Romba p.10 Andreas Duscha p.11 Peter Jellitsch p.12 Tyler Mallison p.15 Carlos Urros p .16 In the Studio Tal R, Copenhagen At first glance, Tal R’s exuberant colorful paintings may give the false impression of being childishly simple. Looking closer, a subtle complexity emerges from his work. “It’s fucked up”says the artist bluntly. We met Tal R in his studio, entitled “Paradise”, in Copenhagen. • read more on page 2 In the Studio Preview Madeleine Boschan, Berlin Photo: ©Amor Munoz »Art has become »Objects are capable of trig- a popular culture, more like gering stories. In turn, a story the music industry.« itself can become an object.« Jorge Pardo's sculptures, installations, paintings, Born in Iquitos, Peru, Lúa Coderch refers to herself Nick Oberthaler, Vienna buildings, and furnishings add influences of architec- as a “child of the Amazon river”. The Barcelona-based ture and design. The American artist uses vibrant artist explores the surface of things, phenomena upcoming interviews colors and patterns, as well as natural and industrial such as exoticism, and the materiality of personal and and collector stories on materials to create everyday objects and spaces with historical narrative, using a wide range of media collectorsagenda.com transformed meanings. • read more on page 9 and strategies. • read more on page 6 In the Studio Tal R, Copenhagen In the Studio Anna-Sophie Berger, Vienna Edition Robert La Roche see around me, little details I discover, like the fabric of the tablecloth in a painting.
    [Show full text]