- Hardcover: 168 pages
- Publisher: Zzdap Publishing (August 2001)
- Language: English
- ISBN-10: 1891024264
- ISBN-13: 978-1891024269
- Product Dimensions: 29.2 x 21.3 x 2 cm
- Shipping Weight: 1.3 Kg
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: #2,310,330 in Books (See Top 100 in Books)
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Product Details |
Product Description
Book Description
A central figure of the new wave of German photography that first arrived in the 1970s, Thomas Struth has continued to impact the world of photography with his large-scale museum interiors, portraits, and architectural photography. Struth has emerged as one of the most compelling voices in contemporary art's critique of the subject and the socio-economic order by creating images that are at once visually arresting and subtly political. This new monograph presents another facet of Struth's oeuvre, assembling a series of flower photographs produced for a unique project. In 1991, Struth was commissioned to decorate a new hospital in Winterthur, Switzerland. He decided to produce a two flower photographs and a landscape for each of the 37 sickrooms. The flower photographs were to be hung on the wall behind the bed, the landscape on the opposite wall. With this project, Struth hoped to bring the captivating environment of the Winterthur area into the interior space of the hospital, connecting patients to the outside word. The images for the hospital shift between documentary objectivity and painterly qualities of light and shadow. Beautifully reproduced here, these pictures brilliantly and colorfully synthesize a tradition of landscape photography that includes Edward Weston, Walker Evans, and August Sander with the tradition of 19th century flower and landscape painting. "Struth's photographs initiate a new range of observations and questions...the range of his imagery seems without boundaries..."-Benjamin Buchloh
Hardcover, 168 pages, 8.5 x 11.5 inches, 112 color illustrations.
Hardcover, 168 pages, 8.5 x 11.5 inches, 112 color illustrations.
About the Author
Thomas Struth was born in Gelden, Germany, in 1954. He studied painting with Gerhard Richter and photography with Bernd Becher at the Kunstakademie Düsseldorf. His work has been exhibited internationally at such museums as the Hirshorn Museum, Washington, D.C., the St. Louis Art Museum, the Institute of Contemporary Art, Boston, the Sprengel Museum, Hannover, and the Institute of Contemporary Arts London, and in group exhibitions at Documenta IX, the Sydney Biennial, and the Museum of Modern Art, New York.
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Most helpful customer reviews
5.0 out of 5 stars
An Obscure Route To The Psychology Of The Sick-Bed,
By
This review is from: Thomas Struth: Dandelion Room (Hardcover)
Entering The Dandelion Room is just the slightest bit like being on jungle safari. There is a wild, overgrown quality to Thomas Struth's photographs of flowering plants, a strong sense of obscenity at the heart of floral life at its most voluptuous. But intimations of perishability are absolutely implicit within visual fields that are so healthy and vibrant, you think you smell a redolent bouquet wafting off the reproductions. Counterpoised to the visual feast of floral imagery, Struth composes landscape tableaux that are sparse and unfulfilled, often of dormant agricultural settings which await human intercession were they to return to active production. Thus these almost empty country scenes hint at what might still be possible should benign intervention ensue. But they also speak cogently, perhaps nostalgically, to what has already been, indirectly suggesting a sentimental reminiscence of youth; of a happier, less complex time.The Dandelion Room photographs were made in direct response to a commission to 'decorate' newly constructed patient rooms in a hospital just outside Zurich, Switzerland. Struth was given free reign for the project and decided upon a scheme to situate landscape art on the wall in front of thirty-seven separate sick-beds and floral portraiture on the wall above the head of each bed. Some care was given to combinations of floral and landscape art for each room and this work has been documented with interesting results at the back of the volume. It is useful to think about how the immediate environment influences a person's experience of their stay in hospital, it seems to me. Struth certainly takes seriously that his images will have an impact, and not an insignificant one at that! Lest why would he have gone to such lengths to produce a collection which is seemingly so simple in its subject matter yet so emotionally powerful and poignant in its lasting psychological effect?
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
5.0 out of 5 stars (1 customer review) 4 of 4 people found the following review helpful
5.0 out of 5 stars
An Obscure Route To The Psychology Of The Sick-Bed,
By Dr Lawrence Hauser - Published on Amazon.com
This review is from: Thomas Struth: Dandelion Room (Hardcover)
Entering The Dandelion Room is just the slightest bit like being on jungle safari. There is a wild, overgrown quality to Thomas Struth's photographs of flowering plants, a strong sense of obscenity at the heart of floral life at its most voluptuous. But intimations of perishability are absolutely implicit within visual fields that are so healthy and vibrant, you think you smell a redolent bouquet wafting off the reproductions. Counterpoised to the visual feast of floral imagery, Struth composes landscape tableaux that are sparse and unfulfilled, often of dormant agricultural settings which await human intercession were they to return to active production. Thus these almost empty country scenes hint at what might still be possible should benign intervention ensue. But they also speak cogently, perhaps nostalgically, to what has already been, indirectly suggesting a sentimental reminiscence of youth; of a happier, less complex time.The Dandelion Room photographs were made in direct response to a commission to 'decorate' newly constructed patient rooms in a hospital just outside Zurich, Switzerland. Struth was given free reign for the project and decided upon a scheme to situate landscape art on the wall in front of thirty-seven separate sick-beds and floral portraiture on the wall above the head of each bed. Some care was given to combinations of floral and landscape art for each room and this work has been documented with interesting results at the back of the volume. It is useful to think about how the immediate environment influences a person's experience of their stay in hospital, it seems to me. Struth certainly takes seriously that his images will have an impact, and not an insignificant one at that! Lest why would he have gone to such lengths to produce a collection which is seemingly so simple in its subject matter yet so emotionally powerful and poignant in its lasting psychological effect? |
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