True or false? They also used the camera as an instrument to take pictures. reiterates and also acts as an extension of.
Thomas Ruff: The decision was quite simple.
THOMAS RUFF: I've been collecting these photographs since I don't know when, for a long time, for different reasons.
Thomas Ruff.
Thomas Ruff im Interview mit Thomas Weski. Developed over a period of more than three decades, the diversity and complexity of Thomas Ruff's oeuvre makes it unique in the history of art photography. Artwork page for ‘Portrait 1986 (Stoya)’, Thomas Ruff, 1986 Ruff believes that photography can only capture the surface of things, conveying what he describes as ‘the authenticity of a manipulated and prearranged reality’. Folgen Sie uns . Thomas Ruff continually challenges the processes, techniques and concepts of photography, frequently editing and manipulating images made by others in order to re-imagine their possibilities. Thomas Ruff — Der wissenschaftliche Künstler.
In 1981, he began a series of colour portraits of his friends and fellow students at the Düsseldorf Academy.
I have two photograms by Art Siegel in my collection and I passed by them again and again. ma.r.s.15, von Thomas Ruff Ausstellungskatalog. Victoria and Albert Museum traveled to Ruff’s studio in Dusseldorf to meet the artist, and find out more about this working methods, inspiration – and how his art has evolved.
Victoria and Albert Museum traveled to Ruff’s studio in Dusseldorf to meet the artist, and find out more about this working methods, inspiration – and how his art has evolved. His current exhibition at David Zwirner in New York consists of two bodies of work: new abstract photograms and the “ma.r.s” series. It's true and false. German photographer Thomas Ruff's latest series, opening at Sprüth Magers Berlin, appropriates images from American magazines of the '50s and '60s. His methodical approaches can be understood as visual research. German photographer Thomas Ruff's latest series, opening at Sprüth Magers Berlin, appropriates images from American magazines of the '50s and '60s. Stretch your view Künstler. Artwork. […] You can find them on eBay and when we were browsing through the shops there were images that attracted me.
We weren’t living by candlelight in caves anymore. Two years ago, I had the idea to begin making some of my own photograms. In this talk, the exhibition's curator, Thomas Weski, questioned the artist in regard of the backgrounds and criteria of his research, as well as his work development. Likewise, Ruff’s cassini and Sterne images establish his longstanding interest in the cosmos, which ma.r.s. Thomas Ruff, interview Philip Pocock, Journal of Contemporary Art, n°6.1, 1993, p.78-86 Philip Pocock: Unlike the Neue Sachlichkeit of Sander or Renger-Patzsch, there is a clear crisis of belief in the objectivity of your medium in your work. Over the past thirty years, Thomas Ruff has engaged with various photographic genres, from portraiture to reportage to astronomical imagery.
We were in surroundings where everything was brightly illuminated—even our parking garages.
[…] Thomas Ruff: It's both. Thomas Ruff’s photography suggests the possibilities of his chosen medium, as he might use digital manipulation for one subject and antiquated darkroom techniques for another. Thomas Ruff: When I started with the portraits, it was with an awareness that we were living at the end of the twentieth century, in an industrialized Western country.
Thomas Ruff continually challenges the processes, techniques and concepts of photography, frequently editing and manipulating images made by others in order to re-imagine their possibilities.
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