Thomas Struth's mischievous photography.

From daguerreotypes to digital.
March 21 2003 12:58 PM

Truth or Dare

Taking a closer look at Thomas Struth's objectivity.

Click here  or on the images to see the slide show.

(Continued from Page 1)

Struth's remarkably precise family portraits, of Germans and Americans and Chinese and Japanese, lose their distinctness under the pressure of that very precision and begin to seem as undifferentiated from each other as Struth's cityscapes. To paraphrase the title of Walter Benjamin's overcited essay—and Struth cherishes Benjamin—you might say that these impersonal, and even interchangeable, photographs express, for this artist, the fate of the family in an age of mechanical reproduction. Unsettlingly, perhaps even vindictively, these portraits reduce modern life to the abstraction that modernist painting, inspired by photography, once made of it.

Click on image to view slide show
Art Institute of Chicago II, Chicago, 1990

This is why, in Struth's magnificent museum photographs, the figures in the paintings seem uncannily more real than the actual, living people looking at them. Painting, you see, has a power that photography lacks. But it is not the power of some banal eternalness that we all have learned to think is the quality of great art. In Louvre IV, Paris, the dying figures in Gericault's Raft of the Medusa—the seminal work of French Romanticism—breathe their mortality, their gradual extinction, while the Japanese museum-goers viewing it seem fixed forever in some mundane impermanence. In a photograph of people standing before a Seurat painting, the painting itself possesses all the briskness of being, not the people staring at it, and you recall that Seurat based his paintings on photographic principles.

Indeed, Struth's empty streets, and his anonymous-seeming churches and families, and his contrived junglescapes (the series is ironically titled Paradise) all seem to undermine human beings, and human places, and human longing altogether. The question is whether these modest spectacles of soullessness are spiritual protests against soullessness or deliberate, defiant expressions of the condition that they represent.

No wonder Gerhard Richter's eyes, in Struth's portrait of Richter and his family, insinuate a sly, defiant, challenging smile behind their heavy black-frame glasses. His painter's gaze, devoted to brilliant subordinations of painting to photography—is about to be trapped in what Struth regards as photography's narrow, subordinate perspective.

Lee Siegel is Slate's art critic.



The End of Pregnancy

And the inevitable rise of the artificial womb.

Doctor Tests Positive for Ebola in New York City

How a Company You’ve Never Heard of Took Control of the Entire Porn Industry

The Hot New Strategy for Desperate Democrats

Blame China for everything.

The Questions That Michael Brown’s Autopsies Can’t Answer


Kiev Used to Be an Easygoing Place

Now it’s descending into madness.


Don’t Just Sit There

How to be more productive during your commute.

There Has Never Been a Comic Book Character Like John Constantine

Which Came First, the Word Chicken or the Word Egg?

  News & Politics
The Slate Quiz
Oct. 24 2014 12:10 AM Play the Slate News Quiz With Jeopardy! superchampion Ken Jennings.
Oct. 23 2014 5:53 PM Amazon Investors Suddenly Bearish on Losing Money
Oct. 23 2014 5:08 PM Why Is an Obscure 1968 Documentary in the Opening Credits of Transparent?
  Double X
The XX Factor
Oct. 23 2014 11:33 AM Watch Little Princesses Curse for the Feminist Cause
  Slate Plus
Oct. 23 2014 11:28 AM Slate’s Working Podcast: Episode 2 Transcript Read what David Plotz asked Dr. Meri Kolbrener about her workday.
Brow Beat
Oct. 23 2014 6:55 PM A Goodfellas Actor Sued The Simpsons for Stealing His Likeness. Does He Have a Case?
Oct. 23 2014 11:47 PM Don’t Just Sit There How to be more productive during your commute.
  Health & Science
Oct. 23 2014 5:42 PM Seriously, Evolution: WTF? Why I love the most awkward, absurd, hacked-together species.
Sports Nut
Oct. 20 2014 5:09 PM Keepaway, on Three. Ready—Break! On his record-breaking touchdown pass, Peyton Manning couldn’t even leave the celebration to chance.