|Born||10 February 1958|
|Movement||Düsseldorf School of Photography|
Thomas Ruff (born 10 February 1958) is a German photographer who lives and works in Düsseldorf, Germany. He has been described as “a master of edited and reimagined images”.
A photographer is a person who makes photographs.
Düsseldorf is the capital and second-largest city of the most populous German federal state of North Rhine-Westphalia after Cologne, as well as the seventh-largest city in Germany, with a population of 617,280. At the confluence of the Rhine and its tributary Düssel, the city lies in the centre of both the Rhine-Ruhr and the Rhineland Metropolitan Regions with the Cologne Bonn Region to its south and the Ruhr to its north. Most of the city lies on the right bank of the Rhine. The city is the largest in the German Low Franconian dialect area. "Dorf" meaning "village" in German, the "-dorf" suffix is unusual in the German-speaking area for a settlement of Düsseldorf's size.
Germany, officially the Federal Republic of Germany, is a country in Central and Western Europe, lying between the Baltic and North Seas to the north and the Alps, Lake Constance and the High Rhine to the south. It borders Denmark to the north, Poland and the Czech Republic to the east, Austria and Switzerland to the south, France to the southwest, and Luxembourg, Belgium and the Netherlands to the west.
Ruff shares a studio on Düsseldorf's Hansaallee, with other German photographers Laurenz Berges, Andreas Gursky and Axel Hütte.The studio, a former municipal electricity station, includes a basement gallery.
Andreas Gursky is a German photographer and professor at the Kunstakademie Düsseldorf, Germany.
Axel Hütte is a German photographer.
Thomas Ruff, one of six children, was born in 1958 in Zell am Harmersbach in the Black Forest, Germany. In the summer of 1974, Ruff acquired his first camera and after attending an evening class in the basic techniques of photography he started to experiment, taking shots similar to those he had seen in many amateur photography magazines.
During his studies in Düsseldorf and inspired by the lectures of Benjamin HD Buchloh, Ruff developed his method of conceptual serial photography. Ruff began photographing landscapes, but while he was still a student he transitioned to the interiors of German living quarters, with typical features of the 1950s to 1970s. This was followed by similar views of buildings and portraits of friends and acquaintances from the Düsseldorf art and music scene, initially in small formats.
Ruff studied photography from 1977 to 1985 with Bernd and Hilla Becher at the Kunstakademie Düsseldorf (Düsseldorf Art Academy), where fellow students included the photographers Andreas Gursky, Candida Höfer, Thomas Struth, Angelika Wengler, and Petra Wunderlich. In 1982, he spent six months at the Cité internationale des arts in Paris. In 1993, he was a scholar at Villa Massimo in Rome.
Bernhard "Bernd" Becher, and Hilla Becher, née Wobeser, were German conceptual artists and photographers working as a collaborative duo. They are best known for their extensive series of photographic images, or typologies, of industrial buildings and structures, often organised in grids. As the founders of what has come to be known as the ‘Becher school’ or the ‘Düsseldorf School’ they influenced generations of documentary photographers and artists. They have been awarded the Erasmus Prize and the Hasselblad Award.
The Kunstakademie Düsseldorf is the Arts Academy of the city of Düsseldorf, Germany. Notable artists who attended the academy include Joseph Beuys, Gerhard Richter, Gotthard Graubner, Ruth Rogers-Altmann, Sigmar Polke, Anselm Kiefer and photographers Thomas Ruff, Thomas Demand, Thomas Struth, Andreas Gursky and Candida Höfer. In the stairway of its main entrance, are engraved the Words: "Für unsere Studenten nur das Beste".
Candida Höfer is a Cologne, Germany-based photographer and a former student of Bernd and Hilla Becher. Like other Becher students – Axel Hütte, Andreas Gursky, Thomas Ruff, Thomas Struth – Höfer's work is known for technical perfection and a strictly conceptual approach. From 1997 to 2000, she taught as professor at the Hochschule für Gestaltung, Karlsruhe. Höfer is the recipient of the 2018 Outstanding Contribution to Photography award, as part of the Sony World Photography awards.
Commenting on his influences, Ruff said, "My teacher Bernd Becher, showed us photographs by Stephen Shore, Joel Meyerowitz and the new American colour photographers."He is often compared with other members of a prominent generation of European photographers that includes Thomas Struth, Andreas Gursky and Rineke Dijkstra. From 2000 to 2005, Ruff taught Photography at the Kunstakademie Düsseldorf.
Thomas Struth is a German photographer who is best known for his Museum Photographs, family portraits and 1970s black and white photographs of the streets of Düsseldorf and New York. Struth lives and works in Berlin and New York.
Rineke Dijkstra HonFRPS is a Dutch photographer. She lives and works in Amsterdam. Dijkstra has been awarded an Honorary Fellowship of the Royal Photographic Society, the 1999 Citibank Private Bank Photography Prize and the 2017 Hasselblad Award.
In his studio between 1981 and 1985, Ruff photographed 60 half-length portraits in the same manner: Passport-like images, with the upper edge of the photographs situated just above the hair, even lighting, the subject between 25 and 35 years old, taken with a 9 × 12 cm negative and, because of the use of a flash, without any motion blur. The early portraits were black-and-white and small, but Ruff soon switched to color, using solid backgrounds in different colors; from a stack of colored card stock the sitter could choose one color, which then served as the background. The resulting Portraits depict the individual persons – often Ruff's fellow students – framed as in a passport photo, typically shown with emotionless expressions, sometimes face-on, sometimes in profile, and in front of a plain background. Ruff began to experiment with large-format printing in 1986, ultimately producing photographs up to seven by five feet in size (210 × 165 cm). By 1987 Ruff had distilled the project in several ways, settling on an almost exclusive use of the full frontal view and enlarging the finished work to monumental proportions. Art critic Charles Hagen, writing for The New York Times , commented: "Blown up to wall-size proportions, the photographs looked like gigantic banners of Eastern European dictators."
Because he found the effect of the colors too dominant in these, Ruff chose a light and neutral background for the portraits he made between 1986 and 1991.In a discussion with Philip Pocock, Ruff mentions a connection between his portraits and the police observation methods in Germany in the 1970s during the German Autumn. Indeed, while experimenting with composite faces in 1992, Ruff came across the Minolta Montage Unit, a picture generating machine, used by the German police in the 1970s to generate composite portraits. Through a combination of mirrors, four portraits, fed into the machine, produce one composite picture. Ruff started out reconstructing faces but soon found it more interesting to construct artificial faces, which often combine features of men and women, that do not, but could conceivably, exist in reality; this resulted in his Anderes Porträt series (1994-1995).
Ruff intended that large groups of the approximately eight-by-ten-inch color portraits would be hung together, so to add variety he photographed each person against a colored backdrop.
The series Häuser was created between 1987 and 1991. Ruff's building portraits are likewise serial, and have been edited digitally to remove obstructing details – a typifying method, which gives the images an exemplary character. Of these Ruff notes, "This type of building represents more or less the ideology and economy in the West German republic in the past thirty years." Architects Herzog & de Meuron soon became aware of this form of architecture photography and invited Ruff to participate in their entry for the Venice Biennale of Architecture in 1991 with a photograph of their building for Ricola.
In 1999 Ruff made a series of digitally altered photographs of modernist architecture by Mies van der Rohe. The series l.m.v.d.r. – the initials of the architect – began as a commission offered to Ruff in 1999–2000 in connection with the renovation of Haus Lange and Haus Esters in Krefeld, Germany. Having worked with architectural subject matter since the mid-1980s, Ruff was enlisted to photograph the Krefeld buildings as well as the Barcelona Pavilion and the Villa Tugendhat in Brno.
These first series were followed in 1989 by images of the night sky, Sterne, which were not based on photographs by Ruff, but rather on archived images ('Catalogue of the Southern Sky', including 600 negatives) he had acquired of the European Southern Observatory in the Andes in Chile. These photographs of the stars, taken with a specially designed telescopic lens, are described and catalogued with the precise time of day and exact geographic position. From these photographs, Ruff selected specific details which he enlarged to a uniform grand scale.From 1992 to 1995, during the first Gulf War, Ruff produced his Nacht series (1992–1996), night images of exteriors and buildings using the same night vision infrared technology developed for use, both military and in broadcast television, during the Gulf War. From 1994 to 1996, these were followed by Stereoscopy images, and another series in the 1990s, Zeitungsfotos, consisted of newspaper clippings enlarged without their original subtitles.
In 2003, Ruff published a photographic collection of "Nudes" with a text by the French author Michel Houellebecq. Ruff's images here are based on Internet pornography,which was digitally processed and obscured without any camera or traditional photographic device. In 2009, Aperture Foundation published JPEGs, a large-scale book dedicated exclusively to his monumental series of pixilated enlargements of internet-culled images in the compressed JPEG format.
His Substrat series (2002–2003), based on images from Japanese manga and anime cartoons, continued this exploration of digitally altered Web-based pictures. However, he alters and manipulates the source material such that the work becomes an abstraction of forms and colors with no visual memory of the original source material.On February 7, 2011, one of his Nudes pictures appeared on the cover of New York Magazine.
The artist's series Zycles and Cassini draw from scientific sources. Zycles are based on 3D renderings of mathematical curves that were inspired by Ruff's encounter with copperplate engravings found in 19th-century books on electromagnetism.Ruff translated these images via a 3D computer-modeling program, but instead of his usual flattening, gives volume to 2D. The results are large, inkjet prints on canvas of colored lines and swirls. The Cassini works are based on photographic captures of saturn taken by NASA. Ruff has transformed the raw black and white prints with interjections of saturated colour. In the ma.r.s. series, also sourced from the NASA website, Ruff has transformed the raw black and white fragmentary representations of the planet Mars with interjections of saturated color. He also digitally changed the perspective. In addition to the large C-prints, he has experimented for the first time with 3D image-making.
With Photograms, Ruff engages with the photogram, the cameraless technique advanced by Man Ray, László Moholy-Nagy, and others in the early twentieth century.The photograms series depict abstract shapes, lines, and spirals in seemingly random formations with varying degrees of transparency and illumination. Both the objects and the light in Ruff’s Photograms derive from a virtual darkroom built by a custom-made software program.
Exhibited for the first time at Sprüth Magers's Berlin gallery in 2017, the press++ series is based on images that have been published in American newspapers and magazines from the 1920s to 1970s and that Ruff found on eBay.To produce these works, Ruff scans the front and back of each photograph and combines them digitally, taking into account the original image as well as crops, touch-ups, date stamps, scribbles and smudges.
After a number of collaborations with Swiss architects Herzog & de Meuron, the firm designed a studio building for Ruff and Gursky in Düsseldorf.
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Ruff has exhibited widely since his first gallery show at Galerie Rüdiger Schöttle, Munich, in 1981. His work has appeared in Documenta 9 (1992), the Venice Biennale (1995 and 2005), the Biennale of Sydney (1996), and the Bienal de São Paulo (2002).
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Ruff's work is held in the following permanent public collections:
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