Photograph capitalized: the great art of Thomas strath.
At the top of the national gallery in Washington, dc, a big blue rooster appeared. It is part of the museum’s renovated east wing and has recently opened several new exhibitions to the public – including some photographs of Thomas Struth, a German photographer.
The photos belonged to Robert Meyerhoff and Rheda Becker, the couple who started collecting photos nine years ago. Their first purchase – Struth’s Alte Pinakothek, self-portrait, Munich 2000 – hangs in the east tower gallery. Among them, Struth is regarded as the focus, and from the back, the German Renaissance painter AlbrechtDurer examined self-portraits. Struth took this picture so that it looks like a life-size picture.
Becker always liked his self-portrait. She said, when she saw the dual self-portrait, Ruth, “I am so fascinated about the idea that someone is doing things, I just pictures of this is not a disgrace, but a picture, in a great work of art. ”
Struth is known for its large photographs of paintings, sculptures and art in museums. He also made a lot of architectural images. His picture is the facade of the cathedral of the Notre Dame (part of the collection of the Meyerhoff Becker), the largest of Kodak’s photographic paper, 6 feet and 8 feet. Here, the faintly visible cathedral is filled with photographic space, and the tourists below are as small as the sculptures. It was like this picture was taken from a tall window of a tall building, but there were no tall buildings. For a positive view of the kind of promotion he wants, the photographer needs a place to stand on his 8-by-10-fold camera. So he ordered a very high, movable platform. “Saturday morning at 7 o ‘clock, it was a huge truck,” Struth said.
He moved the platform every night and brought it back to the front of the church every morning. He also had to ask a souvenir vendor to move his merchandise to prevent entry. “He said,” it’s like 500 euros a day to reduce profits, “Struth recalls. “So we paid him some money to move it.”
The photographer then waits for the right visitor to walk past. In this huge picture, no visitor is blurry. It took two days to get the image he wanted – about 120.
Struth spends much less time in the Meyerhoff-Becker series. This is very different from his work in architecture and museum, and less dramatic. The curator of the national gallery in London wants him to photograph Britain’s queen Elizabeth and prince Philip. It’s not entirely his style, so it took the photographer a few days to make his own list. Liar: he might fail. That would be terrible. Pro (but also some) : “if it works, then I have to keep talking about it,” he said.
So the Struth set some conditions. First, he would choose this dress – nothing special, no fur – trimmed robes, no crown. He chose a simple pale blue silk dress with a small needle and a black patent pump on his shoulder. Three weeks before filming, he within Windsor castle, chose a decorated with gold decoration, droplight and rich green brocade, the love seat he lean back, make bright natural light to make the queen more outstanding.
“They were really good together,” the photographer recalled. “When I deal with things like cameras and things like that, they talk to each other, and I think they are great. I like them very much. ”
For collectors Meyerhoff and Becker, they look like a rather ordinary suburban couple, in a luxurious room – a couple you can have “Johnny Walker Black”.
In addition to Struth, Rheda Becker and Robert Meyerhoff’s works include Cindy Sherman, Jeff Wall, Catherine Opie and John Baldessari. All of these contemporary photographers are on display in the east wing of the national gallery until early march.