new-york

Thomas Struth

Marian Goodman Gallery | New York

Thomas Struth’s exhibition of new photographs opened with a C-print of a rocky coastline under a cloudy sky. A streak of bottle green marks the horizon in Donghae City, South Korea, 2007; in the foreground, outcrops of ancient-looking stone align to form orthogonals that plunge through foam to a romantic distance. It takes a while to notice the cast-concrete barrier units stockpiled at the picture’s far left edge. Fake reef? Military emplacement? Dump? We never discover, but in the fifteen images that follow, a related man-made plethora expands to fill every frame. Since 2007, Struth has been photographing inside pharmaceutical and nuclear laboratories; in the Max Planck Institute and Kennedy Space Center; at a Daewoo shipyard; among the towers of Hong Kong. Resolved with his usual preternatural depth of field, the images survey the skins and guts of technoglobalism. Donghae City is the

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