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141:, Ruff developed his method of conceptual serial photography. Ruff began photographing landscapes, but while 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.
509:, which explores the author's experience using mescaline. For this series, Ruff prints fractal patterns created with a specialized software program onto industrial carpets, extending the artist's interest in the limits of human perception and the creation of digital imagery that is at once natural and artificial. The works reference artists such as
241:. 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
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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, he gave volume to 2D. The results
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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. Ruff selected specific details from these photographs, which he enlarged to a uniform grand scale. From 1992
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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
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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
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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
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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
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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
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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
134:'s theories which inspired his photographs. In the summer of 1974, Ruff acquired his first camera. After attending an evening class in basic photography techniques, he started experimenting, taking shots similar to those he had seen in many amateur photography magazines.
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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
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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
456:, 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. The objects and the light in Ruff's
482:. To produce these works, Ruff scans the front and back of each photograph and combines them digitally, considering the original image and crops, touch-ups, date stamps, scribbles, and smudges.
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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.
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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
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works are based on photographic captures of Saturn taken by NASA. Ruff has transformed the raw black and white prints with interjections of saturated color. In the
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356:. Ruff's images here are based on Internet pornography, which was digitally processed and obscured without any camera or traditional photographic device. In 2009,
324:, 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
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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
192:, and the new American colour photographers." He is often compared with other members of a prominent generation of European photographers that, includes
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One of six children, Thomas Ruff was born in 1958 in Zell am
Harmersbach in the Black Forest, Germany. In his youth, he was fascinated with
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series is based on images that have been published in
American newspapers and magazines from the 1920s to 1970s and that Ruff found on
594:. With essays in English and Italian by Giovanni Leoni, Giancarlo Cosenza and Luigi Cosenza and an introduction by Giancarlo Cosenza.
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643:. With texts by Catherine Hug, Douglas Fogle, Kurt W. Forster, and Gerald Matt, and an interview by Matt with Ruff.
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soon became aware of this form of architecture photography and invited Ruff to participate in their entry for the
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Montage Unit, a picture generating machine, used by the German police in the 1970s to generate
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In 2003, Ruff published a photographic collection of "Nudes" with a text by the French author
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Ruff commented on his influences: "My teacher Bernd Becher, showed us photographs by
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122:. The studio, a former municipal electricity station, includes a basement gallery.
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First exhibited at David
Zwirner's 533 West 19th Street location in New York, the
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Ruff shares a studio on Düsseldorf's
Hansaallee, with fellow German photographers
563:. With essays by Ute Eskildsen, Valeria Liebermann and Per Boym. A retrospective.
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233:. Indeed, while experimenting with composite faces in 1992, Ruff came across the
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721:. Text by José Manuel Costa and an interview by Valeria Liebermann with Ruff.
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consisted of newspaper clippings enlarged without their original subtitles.
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152:(Düsseldorf Art Academy), where fellow students included the photographers
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805:– 50-minute documentary by Ralph Goertz. In German with English subtitles.
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economy in the West German republic in the past thirty years." Architects
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derive from a virtual darkroom built by a custom-made software program.
103:(born 10 February 1958) is a German photographer who lives and works in
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Thomas Ruff: New Works, 7 July – 26 August 2017, Sprüth Magers, Berlin.
1009:"Thomas Ruff" at the Haus der Kunst, Munich, February 17 – May 20, 2012
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These first series were followed in 1989 by images of the night sky,
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are large inkjet prints on canvas of colored lines and swirls. The
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Ruff's work is held in the following permanent public collection:
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series takes its title from Aldous Huxley's autobiographical work
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During his studies in Düsseldorf and inspired by the lectures of
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Verlag für moderne Kunst Nürnberg, 2009. Edited by Gerald Matt.
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In 1999, Ruff made a series of digitally altered photographs of
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Thomas Ruff: David
Zwirner, November 9 – December 22, 2007
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430:, he has experimented for the first time with 3D image-making.
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1529:(25th anniversary ed.). Köln: Taschen. pp. 280–283.
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Thomas Ruff: Photograms and
Negatives, April 19 – May 31, 2014
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Thomas Ruff: photograms and ma.r.s., March 28 – April 27, 2013
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Thomas Ruff: photograms and ma.r.s., March 28 – April 27, 2013
693:, Thomas Weski, and Valeria Liebermann. Exhibition catalogue.
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The highest price reached by one of his photographs was when
946:"Thomas Ruff: From 1979 to the Present, 9 May – 6 July 2003"
921:"Photographer Thomas Ruff Weaves the Psychedelic into Rugs"
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657:. Text by Jochen Ludwig and Christiane Grathwohl-Scheffel.
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Thomas Ruff's vintage photo-works make art from artifice
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Thomas Ruff publications with Schellmann Art Production
580:. With essays by Caroline Flosdorff and Michael Stüber.
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and Ruff's own formative adolescent experiences in the
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After a number of collaborations with Swiss architects
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Grosenick, Uta; Riemschneider, Burkhard, eds. (2005).
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to 1995, during the first Gulf War, Ruff produced his
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Milan: Charta, 2006. Edited by Fabrizio Tramontano.
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1293:Planet to Pixel: Ruff Abstractions of the Universe
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376:source material. On 7 February 2011, one of his
271:in 1991 with a photograph of their building for
144:Ruff studied photography from 1977 to 1985 with
821:, New York City: 5 prints (as of December 2020)
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1344:Thomas Ruff: ma.r.s., March 8 – April 21, 2012
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1265:Thomas Ruff: New Work, May 22 – June 21, 2003
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1135:Thomas Ruff, September 12 – November 3, 2001
1082:When Bland Plus Bland Equals More Than Bland
1025:When Bland Plus Bland Equals More Than Bland
1561:, incl. Selected Press, Exhibition Schedule
1216:. brooklynrail.org. Retrieved 7 April 2018.
1195:Thomas Ruff: Nudes, April 28 – May 27, 2000
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799:: CS1 maint: location missing publisher (
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1724:Photographers from North Rhine-Westphalia
1295:" (preview only; subscription required).
1148:Art in Review; Thomas Ruff – 'l.m.v.d.r.'
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649:Verlag für moderne Kunst Nürnberg, 2010.
338:images, and another series in the 1990s,
1165:Thomas Ruff, Sterne 02h 56m – 65° (1989)
1118:25 Works from the Anderes Porträt Series
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846:"Thomas Ruff's manipulative photography"
770:Thomas Ruff : photographs 1979–2011
1310:Teo van den Broeke (17 February 2010),
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869:. fiftyfifty-galerie.de. Archived from
757:. With an introduction by Thomas Weski.
448:, the cameraless technique advanced by
172:in Paris. In 1993, he was a scholar at
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168:. In 1982, he spent six months at the
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1416:Fenstermaker, Will (4 October 2022).
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1418:"Thomas Ruff with Will Fenstermaker"
919:Amadour, Ricky (15 September 2022).
827:, UK: 5 prints (as of December 2020)
555:, 2003. Edited by Matthias Winzen.
13:
1579:Thomas Ruff with Will Fenstermaker
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1301:. wsj.com. Retrieved 7 April 2018.
1080:Charles Hagen (23 February 1996),
1023:Charles Hagen (23 February 1996),
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629:. With an essay by Bennet Simpson.
380:pictures appeared on the cover of
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1749:21st-century German photographers
1744:20th-century German photographers
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533:sold for £197,000 ($ 239,990) at
1619:Düsseldorf School of Photography
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1178:The New Wave of Eroticism in Art
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470:Exhibited for the first time at
93:Düsseldorf School of Photography
1729:Kunstakademie Düsseldorf alumni
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1471:"Stars, 05h, 08m / -45 degrees"
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1291:Chang, Helen (7 August 2009). "
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966:Leo Benedictus (11 June 2009),
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474:'s Berlin gallery in 2017, the
269:Venice Biennale of Architecture
1146:Ken Johnson (5 October 2001),
1137:Zwirner & Wirth, New York.
1123:Phillips de Pury & Company
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681:Munich: Schirmer/Mosel, 2012.
412:draw from scientific sources.
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952:. tate.org.uk. Archived from
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745:Hatje Cantz, 2015. Edited by
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433:
326:European Southern Observatory
1559:Thomas Ruff at David Zwirner
1388:Grace Banks (14 July 2017),
1253:Review: jpegs by Thomas Ruff
1206:Yau, John (February 2008). "
987:What's Hiding in Plain Sight
203:
170:Cité internationale des arts
7:
1739:German contemporary artists
1569:Journal of Contemporary Art
1312:Thomas Ruff exhibition, NYC
1104:Journal of Contemporary Art
1044:UBS Art Collection, Zurich.
699:London: Morel Books, 2013.
10:
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819:Metropolitan Museum of Art
553:Distributed Art Publishers
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292:Haus Lange and Haus Esters
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1565:Interview with the artist
725:Photograms and Negatives.
707:. Edition of 1000 copies.
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1734:People from Ortenaukreis
1267:David Zwirner, New York.
1232:, 31 May 2009, 132 pp.,
1197:David Zwirner, New York.
900:. Herzog & de Meuron
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164:, Angelika Wengler, and
150:Kunstakademie Düsseldorf
126:Early life and education
75:Kunstakademie Düsseldorf
1497:"Thomas Ruff born 1958"
968:Thomas Ruff's best shot
894:"Atelier in Düsseldorf"
739:. Exhibition catalogue.
647:Schwarzwald Landschaft.
506:The Doors of Perception
179:
1633:Bernd and Hilla Becher
1279:Johnen Galerie, Berlin
1056:Guggenheim Collection.
898:www.herzogdemeuron.com
487:Herzog & de Meuron
444:Ruff engages with the
280:modernist architecture
265:Herzog & de Meuron
196:, Andreas Gursky, and
146:Bernd and Hilla Becher
1332:David Zwirner Gallery
729:Rizzoli International
663:Heidelberg, Germany:
854:. 30 September 2017.
550:1979 to the Present.
404:The artist's series
245:series (1994–1995).
1298:Wall Street Journal
1182:Wall Street Journal
925:www.culturedmag.com
892:de Meuron, Herzog.
743:Editions 1988–2014.
661:Stellar Landscapes.
540:, on 8 March 2017.
358:Aperture Foundation
239:composite portraits
139:Benjamin HD Buchloh
60:Zell am Harmersbach
16:German photographer
1445:. 19 October 2023.
1251:(17 April 2009). "
1167:Christie's London.
1152:The New York Times
1029:The New York Times
991:The New York Times
713:La Fábrica, 2014.
611:. A retrospective.
515:Matthias Grünewald
454:László Moholy-Nagy
354:Michel Houellebecq
296:Barcelona Pavilion
219:The New York Times
1701:
1700:
1583:The Brooklyn Rail
1475:www.metmuseum.org
1443:"Apollo Magazine"
1422:The Brooklyn Rail
1238:978-1-59711-093-8
1213:The Brooklyn Rail
779:978-3-86335-693-4
755:978-3-7757-3859-0
737:978-0-8478-4568-2
719:978-84-15691-45-7
705:978-1-907071-27-0
687:978-3-8296-0585-4
673:978-3-86828-261-0
655:978-3-941185-51-7
641:978-3-941185-50-0
633:Surfaces, Depths.
627:978-1-59711-093-8
609:978-88-6130-297-6
592:978-88-8158-558-8
578:978-3-7757-1423-5
561:978-1-891024-72-6
383:New York Magazine
284:Mies van der Rohe
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1459:. 22 March 2023.
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689:. With texts by
679:Works 1979–2011.
511:Hieronymus Bosch
166:Petra Wunderlich
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300:Villa Tugendhat
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243:Anderes Porträt
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1553:External links
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1457:"Christie's"
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871:the original
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64:West Germany
18:
1714:1958 births
1678:Thomas Ruff
1643:Elger Esser
1506:27 December
1480:27 December
1334:, New York.
1277:Thomas Ruff
1125:, New York.
1120:(1994–1995)
1100:Thomas Ruff
1066:Thomas Ruff
1054:Thomas Ruff
1042:Thomas Ruff
904:26 December
877:26 December
810:Collections
570:Hatje Cantz
442:Photograms,
336:Stereoscopy
258:The series
101:Thomas Ruff
84:Photography
37:Thomas Ruff
25:Thomas Ruff
1708:Categories
1683:Jörg Sasse
1658:Axel Hütte
1364:, New York
832:References
727:New York:
617:New York:
535:Christie's
525:Art market
458:Photograms
435:Photograms
360:published
288:l.m.v.d.r.
120:Axel Hütte
105:Düsseldorf
49:1958-02-10
1545:191239335
1394:Wallpaper
1315:Wallpaper
867:"Galerie"
788:938350966
567:Machines.
531:Jpeg pt01
446:photogram
302:in Brno.
213:Portraits
205:Portraits
176:in Rome.
71:Education
1349:, London
1230:Aperture
930:16 April
795:citation
731:, 2015.
667:, 2012.
621:, 2009.
619:Aperture
603:, 2009.
584:M.D.P.N.
572:, 2004.
428:C-prints
373:Substrat
368:format.
298:and the
89:Movement
1626:Artists
1527:Art Now
711:Series.
697:Sterne.
476:press++
465:press++
450:Man Ray
423:ma.r.s.
419:Cassini
410:Cassini
399:ma.r.s.
395:Cassini
235:Minolta
148:at the
1543:
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1495:Tate.
1427:22 May
1236:
1106:, 1993
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665:Kehrer
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501:d.o.pe
494:d.o.pe
414:Zycles
406:Zycles
397:, and
391:Zycles
322:Sterne
307:Sterne
273:Ricola
260:Häuser
253:Häuser
1226:jpegs
601:Skira
440:With
378:Nudes
362:JPEGs
347:Nudes
331:Nacht
311:Nacht
1541:OCLC
1531:ISBN
1508:2020
1501:Tate
1482:2020
1429:2023
1234:ISBN
932:2023
906:2014
879:2014
825:Tate
801:link
784:OCLC
774:ISBN
751:ISBN
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408:and
371:His
366:JPEG
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118:and
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