C-print
150 x 100 cm
“Says Struth, "I wanted to remind my audience that when art works were made, they were not yet icons or museum pieces." "When a work of art becomes fetishized," the affable, articulate artist points out, "it dies." Struth feels the paintings in his museum photographs regain aspects of their original vitality when seen anew in the context he renders so seamlessly.”
On Thomas Struth's "Museum Photographs"
by Phyllis Tuchman
上世紀80年代末，斯特魯斯在那不勒斯和羅馬居住過後，開始在博物館和教堂內拍攝，研究的是觀者本身，並將尋常解讀藝術內容的方向延展至觀察介入藝術的行為與場合，內容與行為模式交雜成了文本不間斷互換的矛盾。
從展示空間走到室外，藝術作品落於日常再加添一層社會意義。普羅大眾定義美好作品的傾向透露於粉飾餐館、家居等場合，對於經典的深刻印象更導致膺品遍布社區的吊詭情景。這旨在提問藝術與真實生活間薄弱的訊息傳遞以及關係。
