Thomas Struth’s “Unconscious Places”: Perspective as “Symbolic Form” in his Early Photography

By:
To add a paper, Login.

Thomas Struth has spoken of his early, black and white, architectural photographs as a “prototype of non-subjective interest” because of their adherence to a system of single-point perspective. I plan to examine the notion that despite this claim, a subjective presence is clearly apparent in these works and that by choosing such an organizing principle, the artist has embedded a form of meaning that needs to be read within the context of such historical periods as the Italian Renaissance as well as in light of such philosophical constructs as the phenomenology of M. Merleau-Ponty and the psychoanalytic ideas of Jacques Lacan.


Keywords: Thomas Struth, Photography, Renaissance Perspective, Phenomenology, Psychoanalysis
Stream: Arts Theory and Criticism
Presentation Type: Virtual Presentation in English
Paper: A paper has not yet been submitted.


Dr. Paula Carabell

Assistant Professor of Art History, Department of Art and Art History, Florida Atlantic University
Boca Raton, Florida, USA

Paula Carabell is currently an Assistant Professor of Art History at Florida Atlantic University. Her research centers on the dynamics of spectatorship and has addressed this theme in publications on both Contemporary and Renaissance Art. Among her publications are "Dan Graham, Big Brother and the Vicissitudes of Surveillance," Visual Culture in Britain, 9, 2008, "Photography, Phonography and the Missing Object," Perspectives on New Music, 40, 2002, "Sound and Time in the Films of Tacita Dean," Parkett, 62, 2001.

Ref: A09P0540