their insistence on the anonymity o

their insistence on the anonymity of the architectural authors, and on the absence of the producers from the sites of production. This artistic gesture had clearly allied itself with a concept of collective subjectivity rather than bourgeois individuality. This principle of excluding the social subject, embodied in photographic figuration, was also precisely what had distinguished the Bechers' work most notably from the spectacular and gro- tesque distortions of subjectivity in New York School photography. "Anonymity" had of course also been the selection principle of Gerhard Richter's photographic iconogra- phy, and Richter had been-along with the Bechers-the other important teacher for Struth's artistic development. Already in 1942, in his introductory essay to the catalog of the exhibition Twentieth Century Partraits, the curator, Monroe Wheeler, noticed this condition, without, how- ever, attempting to understand it, when he writes the following: Even the specialists seem to have often done their best work when there hap- pened to be some intimacy between them and the sitter, or at least some mutual enthusiasm. And many artists refuse to undertake any pre-arranged painting of strangers at all. See Monroe Wheeler, Twentieth-Century Portraits (New York: Museum of Modern Art, 1942), p. 9. 16. Isabelle Graw has pointed out in her interview with Thomas Struth that the artist had sought out locations in his topographical work that were distinguished by both a considerable historical density and a relative marginality with regard to the most common denominators or currencies of architecture and urban spaces. See Isabelle Graw, "Ortskunde: An Interview with Thomas Struth," Artis (December 1989): 36-40.

結果 (繁體中文) 1:

their insistence on the anonymity of the architectural authors, and on the absence of the producers from the sites of production. This artistic gesture had clearly allied itself with a concept of collective subjectivity rather than bourgeois individuality. This principle of excluding the social subject, embodied in photographic figuration, was also precisely what had distinguished the Bechers' work most notably from the spectacular and gro- tesque distortions of subjectivity in New York School photography. "Anonymity" had of course also been the selection principle of Gerhard Richter's photographic iconogra- phy, and Richter had been-along with the Bechers-the other important teacher for Struth's artistic development. Already in 1942, in his introductory essay to the catalog of the exhibition Twentieth Century Partraits, the curator, Monroe Wheeler, noticed this condition, without, how- ever, attempting to understand it, when he writes the following: Even the specialists seem to have often done their best work when there hap- pened to be some intimacy between them and the sitter, or at least some mutual enthusiasm. And many artists refuse to undertake any pre-arranged painting of strangers at all. See Monroe Wheeler, Twentieth-Century Portraits (New York: Museum of Modern Art, 1942), p. 9. 16. Isabelle
GRAW指出在她的採訪托馬斯·施特魯特，藝術家曾尋求的是被2個有相當歷史的密度，並就建築與城市空間的最常見的分母或其它貨幣的相對邊緣化區別在他的地形工作地點。見伊莎貝爾GRAW，“Ortskunde：托馬斯·施特魯特在接受”阿蒂斯（1989年12月）：36-40。

結果 (繁體中文) 2:

他們堅持建築作者的匿名性，以及生產商不在生產現場。這種藝術姿態顯然與集體主體性的概念而不是資產階級的個性聯繫在一起。這種排除社會主題的原則，體現在攝影形象中，也正是貝徹斯的作品與紐約學校攝影中主體性的驚人和怪誕扭曲區別開來的原因。"匿名"當然也是格哈德·裡希特的攝影偶像的選選原則，裡希特與貝徹斯——斯特魯斯藝術發展的另一位重要老師——一起。早在1942年，策展人門羅·惠勒（Monmon Wheeler）就注意到了這種情況，儘管他試圖理解這種情況，他寫道： 即使是專家似乎也注意到了這種情況。經常做他們最好的工作，當有hap-pen是一些親密他們和保姆之間，或至少一些相互的熱情。許多演出者都拒絕對陌生人進行任何預先安排的繪畫。見夢露惠勒，二十世紀肖像（紐約：現代藝術博物館，1942年），第9頁。16. 伊莎貝爾
Graw在接受託馬斯·斯特魯斯採訪時指出，這位演出者在他的地形作品中尋找了一些位置，這些地點在最常見的分母或建築貨幣和城市空間的貨幣。見伊莎貝爾·格勞，《奧茨昆德：湯瑪斯·斯特魯斯的訪談》，阿提斯（1989年12月）：36-40。

結果 (繁體中文) 3:

他們堅持要求建築作者匿名，並要求製作人不在製作現場。這種藝術姿態顯然與集體主體性而不是資產階級個性的概念相結合。這種排除社會主體的原則，體現在攝影形象上，也正是貝徹的作品與紐約學派攝影中對主觀性的壯觀和怪誕扭曲最顯著的區別。”“匿名性”當然也是格哈德·裏希特攝影影像學的選擇原則，裡希特和貝克斯一起成為斯特魯斯藝術發展的另一比特重要老師。早在1942年，館長門羅·惠勒就在他對《二十世紀派對》展覽目錄的介紹性文章中注意到了這種情況，但從未試圖去理解它，當他寫下以下內容時：即使是專家們似乎也經常做他們最好的工作，因為他們和保姆之間有某種親密關係，或者至少有某種共同的熱情。許多藝術家完全拒絕接受任何事先安排好的陌生人繪畫。見門羅·惠勒，《二十世紀肖像畫》（紐約：現代藝術博物館，1942年），第9頁。16歲。伊莎貝爾
Graw在接受Thomas Struth的採訪時指出，藝術家在其地形作品中尋找了一些位置，這些位置既有相當大的歷史密度，也有相對邊緣的特點，即建築和都市空間中最常見的分母或貨幣。見Isabelle Graw，“Ortskunde:對Thomas Struth的採訪”，Artis（1989年12月）：36-40。