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. The result was a unique synthesis of lessons learned from his professors Bernd and Hilla Becher at the Kunstakademie in Düsseldorf, the older tradition of urban architectural photography exemplified by nineteenthcentury practitioners such as Charles Marville and Eugène Atget, and the clear-eyed geometries and concern for social, historical, and institutional context as shown in recent Minimal and Conceptual Art.
Inscription: Signed, dated, and inscribed with title on mount, verso.
Henry S. Hacker
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.
The Metropolitan Museum of Art. "Thomas Struth: Streets," February 4, 2003–May 18, 2003.
Museum of Contemporary Art, Chicago. "Thomas Struth," June 28, 2003–September 28, 2003.
The Metropolitan Museum of Art. "Indexing the World," May 25, 2004–September 19, 2004.
The Metropolitan Museum of Art. "Thomas Struth: Photographs," September 29, 2014–February 16, 2015.
Struth, Thomas. Thomas Struth: Unconscious Places. Cologne: Kunsthalle Bern, 1987. p. 7.
Reust, Hans Rudolf. "Backdrop." Artscribe 68 (March–April 1988). p. 56.
Struth, Thomas. Thomas Struth: Photographs. Chicago: The Renaissance Society at the University of Chicago, 1990. p. 69.
Struth, Thomas. Thomas Struth, Strassen: Fotografie 1976 bis 1995. Cologne: Kunstmuseum Bonn, 1995. p. 59.
Struth, Thomas. Thomas Struth: My Portrait. Tokyo: National Museum of Modern Art, Tokyo, 2000. p. 11.
Cooke, Lynne, and Douglas Crimp, ed. Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Cambridge, Mass.: Museo Nacional Centro de Arte Reina Sofía, 2010. p. 23.