Struth began his survey of cities in his native Düsseldorf, Germany, but it was on a scholarship to New York in 1978 that he found an ideal combination of conceptual order and practical chaos to hone his rigorous vision. Avoiding subjectivity through a centralized viewpoint and comparative technique, Struth catalogued, with clarity and dispassion, the unselfconscious structures that characterize a culture—the irreducible mélange of textures, shapes, and the scale of its streets. During the 1980s Struth expanded his project to include many cities in Western Europe, America, and Asia. He also abandoned one-point perspective and serial comparison in order to locate meaning within individual images rather than between them, creating distinctive portraits of place that chart the historical transformations affecting our urban environments.
Inscription: Signed, dated, and inscribed with title on print, verso.
Marion Goodman Gallery
The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 14," September 9, 1996–December 9, 1996.
The Metropolitan Museum of Art. "Photographs: A Decade of Collecting," June 5, 2001–September 4, 2001.
Dallas Museum of Art. "Thomas Struth," May 8, 2002–August 18, 2002.
Museum of Contemporary Art, Los Angeles. "Thomas Struth," September 15, 2002–January 5, 2003.
The Metropolitan Museum of Art. "Thomas Struth," February 4, 2003–May 18, 2003.
Museum of Contemporary Art, Chicago. "Thomas Struth," June 28, 2003–September 28, 2003.
The Metropolitan Museum of Art. "Thomas Struth: Photographs," September 29, 2014–February 16, 2015.
Struth, Thomas. Thomas Struth: Photographs. Chicago: The Renaissance Society at the University of Chicago, 1990.
Struth, Thomas. Thomas Struth: Museum Photographs. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1992. fig. 1.