• Thomas Ruff, press++51.14, 2016, C-print, 72 7/8 x 91". From the series “pres++,” 2016. © Thomas Ruff/VG Bild-Kunst, Bonn.

    Thomas Ruff

    Sprüth Magers | Berlin

    Of all the photographers to emerge from the Kunstakademie Düsseldorf and the Becher school, Thomas Ruff has probably pursued the most radical and varied exploration of the nature and history of photography and its genres. With his recent series “press++,” 2016, based on archival press photographs, he once again opens a new chapter. For the enormous range of his work from the 1980s until now, Ruff has consistently pursued two basic lines of investigation: how the medium of photography and its rapidly changing technology shapes our notion of the relationship between image and reality, and how we

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  • Kyungah Ham, Abstract Weave / Morris Louis Alpha Upsilon 1960 NB001-01, 2014, North Korean machine embroidery, silk threads on cotton, middleman, anxiety, censorship, wooden frame, collected world internet news articles, tassels, 6' 4 3/4“ x 11' 7 3/8”.

    Kyungah Ham

    carlier | gebauer

    This was Kyungah Ham’s first one-person show outside South Korea—yet to call it a solo venture felt odd, not just because some of the exhibited pieces were the work of many hands, but also because Ham herself seemingly operates as two artists simultaneously. The first is a producer of strikingly lush, colorful, and imposing “paintings” made not with paint but with embroidery on canvas. The works of this artist are lavishly sensual, often very pleasurable to look at, possibly a little too slickly produced, and occasionally—as in a series that imitates Morris Louis’s 1960–61 “Unfurled”

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