Thomas Struth’s “Unconscious Places”: Perspective as “Symbolic Form” in his Early Photography
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
Dr. Paula Carabell
Assistant Professor of Art History, Department of Art and Art History, Florida Atlantic University