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NATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography Enthusiasts
NATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography EnthusiastsNATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography Enthusiasts

NATURE MORTE by Thomas Ruff - Fine Art Photography Book for Collectors | Perfect for Home Decor, Art Galleries & Photography Enthusiasts

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Product Description

Thomas Ruff2015Gagosian Gallery

※ 29 x 22 cm19

25 

Sonya DyakovaAtelier Dyakova

※ 19



Ruff is a leading innovator in the generation of German artists that propelled photography into mainstream art. Open and explorative, he has pushed the limits of the medium, harnessing technologies both old and new to reconceptualize architectural, astrological, pornographic, and portrait photography. Ruff's recent negatives extend his explorations of the photogram, in which he used positive and negative imagery to create a mesmerizing photographic world of nebulous shadows, spheres, zigzags, and hard edges against richly coloured backgrounds. Reversing the negative's role as a means to an end, he digitally transforms sepia-toned albumen prints into dramatically contrasting apparitions.

'Due to digital photography, the negative, which I have used nearly every day for more than twenty-five years, has almost disappeared. If I ask my daughters what a negative is, they look at me wide-eyed, for they've never seen or used one. The negative was actually never considered for itself, it was always only a means to an end. It was the “master” from which the photographic print was made, and I think it is worth looking at these “masters.”'
—Thomas Ruff