Thomas Struth

Thomas Struth (born 1954, Geldern, North Rhine-Westphalia, West Germany) German photographer known best for his series Museum Photographs, monumental colour images of people viewing canonical works of art in museums. His photographs are characterized by their lush colour and extreme attention to detail, which, because of their large size—often measuring about 5 × 5 feet (1.5 × 1.5 metres) or more but sometimes as large as 10 × 12 feet (3 × 3.6 metres)—have a mesmerizing effect. Together with Andreas Gursky, Candida Höfer, and Thomas Ruff, Struth was associated with the Düsseldorf School of Photography in Düsseldorf, Germany, led by Bernd and Hilla Becher.

Struth initially studied painting with German painter Gerhard Richter at the Staatliche Kunstakademie in Düsseldorf. Struth’s earliest photographs, black-and-white cityscapes of Düsseldorf, were made to aid his painting. They used a straightforward, central perspective. The airless, static images bore a striking similarity to the “typologies” of industrial structures that the Bechers were creating. In a 1976 exhibition of student work, Struth displayed his work in a grid, as the Bechers had been doing since the 1960s, even though he was still studying with Richter and had not yet seen the Bechers’ work. Following that exhibition, it became clear to Struth that he was not interested in painting, and he joined the first photography class being offered at the Kunstakademie. It was taught by the Bechers, who had founded the photography department in 1976.

The Kunstakademie awarded Struth a scholarship to live and work during 1977–78 in New York City. There he continued working on cityscapes: unusual images of streets devoid of people, traffic, and the unceasing movement typical of a major metropolis. Following his scholarship, Struth traveled widely, creating photographs of streets in such cities as Paris, Rome, Munich, and Tokyo as well as Charleroi, Belgium, and Cologne, Germany, always avoiding well-known locations and tourist attractions. In each of these cities he researched the right locations to photograph and made his images by using a large-format view camera on a tripod, often standing in the middle of a street. With the locations he chose and the architecture and other elements he included in his compositions, he hoped to convey more about the city and its current physical state and character than about his own personal perspective.

Struth’s first experiments in colour occurred about 1980, and by the middle of that decade, Struth had stopped exhibiting his work in grids, instead hanging each print as an individual work.

Struth began his family portraits in the late 1980s. In this series, the families are situated inside their home or in a garden. They look straight at the camera and are often expressionless. Struth photographed them in both colour and black-and-white, using the same large-format camera he had used for his city photographs. The identities of the family members are communicated through the razor-sharp details included in the image. The viewer must piece together the critical elements to shape a narrative. Like the portraits created several decades before by German photographer August Sander (1876–1964), Struth’s photographs reveal identity, history, and (often) psychological state through posture and gesture, dress, and the subjects’ physical environment. Struth’s portraits became an ongoing series that took him around the world to document families from Europe to Peru to the United States. These portraits were not typically commissioned, but in 2002 he was asked by his former teacher, Richter, to photograph him with his family for an article about his work that appeared in The New York Times magazine. And in 2011 Struth was commissioned to make the official portrait of Queen Elizabeth II and Prince Philip for her Diamond Jubilee, the 60th anniversary of her coronation. Both commissioned photos were included in the family portrait series.

In 1989 Struth began a series he called Museum Photographs. It consisted of images of museum and gallery visitors in the act of viewing art. The first group of these photographs, created 1989–90, was not staged. Struth simply waited and observed patiently, sometimes returning to the museum for several days in a row, until he was able to get the shot he wanted. Some photos are contemplative, such as Kunsthistorisches Museum 3, Vienna (1989), which shows a man inspecting Rembrandt’s Portrait of a Man. Other photographs in the series are crowded with masses of people trying to get a glimpse of the work of art, as in Stanze di Raffaello 2 (1990), taken at the Vatican in the fresco rooms painted by Italian Renaissance master Raphael. Struth took a hiatus from the museum series to serve from 1993 to 1996 as the first professor of photography at the recently founded Karlsruhe University of Arts and Design. He returned to the series in the mid-1990s. For some of his later images, Struth orchestrated the composition, placing the people where he wanted them.

As an offshoot of that series, Struth created Audiences (2004), for which he photographed people from the perspective of the work of art on display. For example, he placed his camera below Michelangelo’s sculpture David to capture the facial expressions of the viewers looking up at the artist’s masterpiece. Struth finished the museum series in 2005, after photographing at the Prado Museum in Madrid in front of Diego Velázquez’s Las Meninas (1656), the famous portrait of King Philip IV’s daughter, Infanta Margarita, attended by her servants and maids.

Struth’s next project was to explore places that are much less public, documenting the sites and equipment used to conduct the world’s most complex scientific research. He photographed sites such as pharmaceutical plants, space stations, and nuclear facilities at the same magnitude and with the same precision and explosive use of colour as he had with previous subjects. His goal was to examine and expose with extreme clarity the structures of advanced technology that were primarily closed to public view but had an enormous global impact. In 2014 he photographed an unpopulated Disneyland as a way of investigating the theme of fantasy and the industry responsible for manufacturing dreams and encouraging imagination.

Several large-scale solo exhibitions of Struth’s work were held at museums around the world from the mid-1980s, including a major retrospective in 2010—Thomas Struth: Photographs 1978–2010. The exhibition originated at the Kunsthaus Zürich and traveled to Düsseldorf, London, and Porto, Portugal.