GENERAL DESCRIPTION
In this work, a cast of characters Thomas Struth "directed" mills around in the Pergamon room of the famous museum in the former East Berlin. This is the largest group Struth has worked with to make one of his Museum Photographs, the renowned series that has brought the artist great acclaim since the mid-1990s. People gaze at vast buildings, staircases, and sculpture that once were part of the acropolis of the city of Pergamon of antiquity; seated on stairs (something not normally allowed), standing about in the middle of the room, or gazing at some far-off sculpture, Struth's viewers enact their own tableaux as if they themselves are friezes come to life. The giant scale of the space is brought to human scale as the figures take the place of their ancient counterparts. Yet this massive and ancient building is set within a museum whose modern skylights and windows define that space, sealing one age within another. Such paradoxes of ancient and modern, public and private, staged and spontaneous are often found in Struth's work.
Adapted from
Charles Wylie, DMA unpublished material, 2002.
NOTES
DMA unpublished material = Charles Wylie, Acquisition Proposal, 2002. In Collection Records object file (2002.46).
All the World's a Stage, DMA 2009-2010
Thomas Struth, DMA 2002
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PROVENANCE
Until 2002: Thomas Struth (b. 1954)
2002: Dallas Museum of art, purchased through Marian Goodman Gallery, New York
The main source for this provenance is the copy of the invoice dated September 26, 2002, in the Collections Records object file (2002.46).
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General Description
In this work, a cast of characters Thomas Struth "directed" mills around in the Pergamon room of the famous museum in the former East Berlin. This is the largest group Struth has worked with to make one of his Museum Photographs, the renowned series that has brought the artist great acclaim since the mid-1990s. People gaze at vast buildings, staircases, and sculpture that once were part of the acropolis of the city of Pergamon of antiquity; seated on stairs (something not normally allowed), standing about in the middle of the room, or gazing at some far-off sculpture, Struth's viewers enact their own tableaux as if they themselves are friezes come to life. The giant scale of the space is brought to human scale as the figures take the place of their ancient counterparts. Yet this massive and ancient building is set within a museum whose modern skylights and windows define that space, sealing one age within another. Such paradoxes of ancient and modern, public and private, staged and spontaneous are often found in Struth's work.
Adapted from
Charles Wylie, DMA unpublished material, 2002.
Fun Facts
Archival Resources
Web Resources
Notes
DMA unpublished material = Charles Wylie, Acquisition Proposal, 2002. In Collection Records object file (2002.46).
All the World's a Stage, DMA 2009-2010
Thomas Struth, DMA 2002
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 2002: Thomas Struth (b. 1954)
2002: Dallas Museum of art, purchased through Marian Goodman Gallery, New York
The main source for this provenance is the copy of the invoice dated September 26, 2002, in the Collections Records object file (2002.46).
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
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2002.46
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object_notes_4_a-0122.xml.nores