Thomas Ruff’s book “jpegs” offers a fascinating exploration of found images through the lens of contemporary art. By manipulating the resolution of these images to create low-grade, pixelated results, Ruff invites us to reconsider our perception of digital photography and its impact on our visual culture. However, this raises a pertinent question: does this approach still qualify as photography?
In his review, David Campany delves into this issue, highlighting Ruff’s innovative use of found images to reflect cultural contexts. As Campany notes, Ruff is part of a broader tradition of artists who repurpose existing images to comment on the zeitgeist. In “jpegs”, Ruff’s method of reducing resolution turns the pixel into a new form of grain, offering a more clinical and detached aesthetic compared to the organic grain of film photography. Campany argues that this abstraction draws viewers’ attention to the familiar in an unexpected and thought-provoking manner.
On the other hand, Jörg Colberg’s critique offers a more skeptical view. In his blog, Colberg acknowledges the visual allure of Ruff’s work but questions whether the technique itself overshadows the outcome. While the images are undeniably striking and engaging, Colberg challenges us to consider if the innovative approach truly adds substantive value beyond its aesthetic appeal.
From my perspective, the impact of Ruff’s images lies in their ability to evoke a strong response through their manipulated form. The pixelated quality and abstracted details captivate the viewer, yet I find myself more intrigued by the effect rather than the originality of the content. Both reviewers suggest that Ruff’s work might be more effectively appreciated in a large-scale print format, where the nuances of resolution and pixelation can be fully experienced.
In conclusion, Thomas Ruff’s “jpegs” challenges traditional notions of photography by transforming found images into a new form of artistic expression. While reviews vary in their assessment of the project’s significance, Ruff’s work undeniably prompts a reevaluation of how we perceive and interact with digital imagery. Whether or not this constitutes a new form of photography, it certainly adds a compelling dimension to the ongoing conversation about the evolution of visual art.
Above is my image from Assignment 1 in Ruffs Style; I don’t think in the case of this image it adds much value.
I can see where Ruff’s idea for the project came from, i.e. playing with images after his images of 9/11 failed but as Colberg said are the images more that just the technique? The images to me remind me of the Brillo Pad Boxes and Campbell’s Soup by Andy Warhol – clever visually appealing but to me lacking in depth.
