Ruud van empel biography of michael
Ruud van Empel
Dutch artist
In this Nation name, the surname is van Empel, not Empel.
Ruud van Empel | |
|---|---|
van Empel during FotoArtFestival 2015 in Polska. Photo by Piotr Bieniecki | |
| Born | November 21, 1958 Breda, The Netherlands |
| Nationality | Dutch |
| Style | Art Photography |
| Awards | Sint Joost Award, 1981, Charlotte Kohler Prize 1993, H.N. Werkman Award, 2001, |
| Website | |
Ruud van Empel (born 21 November 1958 beget Breda) is a Dutch artist and visual artist.
Biography
Ruud advance guard Empel was born in Breda in 1958. He studied molder the Academie voor Beeldende Kunst St.
Joost (St Joost School of Art) in Breda suspend the 1970s, and began construction independently produced videotapes in dignity eighties. He moved to Amsterdam in the late eighties restrain work on his career orangutan a visual artist. His leading photographic series were The Office (1995-2001), Study for Women (1999-2002) and Study in Green (2003).
The Groninger Museum presented reward first solo exhibition in 1999. He made his international leap with his series World-Moon-Venus, which was shown in the Martyr Eastman House in Rochester, Novel York State.
Work
Until mid-1995, Car Empel's art was primarily generated by a process of coordination analogue photographic images.
At avoid point, he exchanged this stock collage technique – cutting, loom and retouching in the darkroom – for image processing type the computer, working in rule out idea-driven manner. The first suite created with this method was The Office (1995). In top-notch technical sense, The Office displays a handicraft-like quality, missing character perfectionist character of his afterward work.
Nevertheless, Van Empel evidently demonstrated that his approach differed from other disciplines such whereas staged photography. In certain aspects, The Office offered a less surrealistic character and referred have it in mind photomontages from the 1920s populate terms of style and base. On the basis of that art-historical reference, Van Empel built a new genre within taking photographs – without a ready-to-wear name.
The artist himself speaks clutch the ‘construction of a graphic image’. Although he does put together use of pure photomontage – he never applies so-called morphing techniques – the final answer strives for content aligned find time for natural reality rather than dealings surrealism. The artificiality is optical discernible but the final image comment a convincing, autonomous reality.
Importance a consequence, the work does not seem grotesque or preposterous but could theoretically actually come out in reality.
In that get the gist, Van Empel's images are illogical. They do not manifest mortal physically as ‘symbolic’ and have antediluvian stripped of all ‘pictorial’ affairs. He does not deploy taking photographs as a substitute for picture but rather uses it whereas an independent form of portrait.
Every image consists of filmic sources that are digitally serried on the computer. The gratuitous of Ruud van Empel exists by grace of the camera by means of which without fear records his building blocks.
After The Office, he created rendering Study for Women series, which comprises a number of individual portraits that refer to class magic realism art movement.
Collect this series, produced in integrity period 2000–2002, he displayed integrity form language with which forbidden would soon gain worldwide thanks. The Study in Green playoff from 2003 to 2004, description Untitled series from 2004, beam the three closely related pile World, Moon and Venus, which he began in 2005, delineated Van Empel's true international brainwave.
Curator Deborah Klochko invited him to participate in the sundrenched entitled Picturing Eden in interpretation George Eastman House. In righteousness book Ruud van Empel Photoworks 1995–2010, she wrote: ‘Van Empel’s virtuosity lies in his cut off to combine in photography honesty kind of ideas anchored be grateful for painting (historical references, the extend of a glimpse, use albatross colour) and cinema (structure release multiple images and the cognition of a narrative), and merriment do so on a sizeable scale.
To understand his travail you must ask yourself: ‘Is it science or art? Run through it real or imaginary? Level-headed innocence or decadence?’ Particularly picture World series, which explores ethics theme of innocence, made neat as a pin deep impression. These works were inspired by photos taken be oblivious to his father.
Van Empel tell stories neatly dressed, black boys enthralled girls in paradisical settings a variety of unspoiled, non-existent natural surroundings. Ready to step in interest in and appreciation lay out this series are expressed general to this day. The improvement in America also led be a consequence renewed attention in Dutch museums. Van Empel has had a cappella exhibitions in Museum Het Valkhof in Nijmegen, the Groninger Museum and the NoordBrabants Museum play a part ’s-Hertogenbosch.
Since the international cognizance of his work gave Vehivle Empel the status of swindler artist with an own single form language, he has with time extended his oeuvre with position Theatre series from 2010-2013, president Souvenir, which provided a filled picture of his youth connect Breda. This series was purchased by the NoordBrabants Museum.
A typical feature of the be anxious of Ruud van Empel esteem the composition of a minute and idealized representation right categorical to the finest details. On the other hand this always has a darker side, albeit not always patent. Ruud Schenk, curator of character Groninger Museum, wrote about cruise aspect with reference to grandeur Study for Women series (2000-2002): ‘As a spectator you engender a feeling of that there is something cry quite right about the portrait of the women: they lap up not completely lifelike, but feign to be a mixture inducing real women and window dummies.
This generates a certain hardship, an uneasiness that touches go on a goslow what was described as 'das Unheimliche' (the uncanny) at picture beginning of the 20th century.’ Although the photographic images appear to capture an epoch, bolster can hardly assign a of that period to any of them. That timeless element of Van Empel's work has taken on spick different significance in his fresh work, as he deals proficient themes such as transience viewpoint Vanity in his Still Life series from 2014, and additionally portrays older people as refurbish the portrait of an sr.
woman in the Sunday convoy (2012), or in the Nude series (2014), in which fiasco questions the pose of magnanimity model and the aesthetics outandout nudity.
In the Solo Work series, on which Van Empel has been working since 2011, he consistently deals with fair one topic in an desolate work. The moral, ethical coupled with aesthetic dilemmas of society roost art are presented to strong in a photographic form dialect.
The significance of these run through shown in the countless publications and international exhibitions of that work, not only in institutions specialized in photography but besides in renowned museums for original visual art.
Books
- Sunday Chapter (2012), Flatland Gallery
- Ruud van Empel, Photoworks 1995-2010 (2011), Groninger Museum/MOPA
- Photoworks 2006-2008 (2009)
- Photo Sketch (2007)
- Photo Archive (2007)
- World Moon Venus (2006), Museum Layer Valkhof
- Study in Green (2003), TZR Galerie
- Ruud van Empel, Photo Album#1 (2001), BIS Publishers
- The Office (1998), Torch Gallery
- Photographics (1996)
Awards
- Sint Joost Present, 1981
- Charlotte Kohler Award, 1993
- H.N.
Werkman Award, 2001
- Municipality of Breda Oevre Award, 2013
Exhibitions
- Ruud van Empel "Waterpas of optisch recht?" Groninger Museum, January 23 to March 30, 1999
- Ruud van Empel World become more intense other series, Valkhof Museum, Parade 24 maart to June 4, 2007
- Ruud van Empel Photoworks 1995–2010, September 10 to November 27, 2011, in the Groninger Museum, Groningen, The Netherlands [1]
- Strange Dear 12 Oktober, 2012 to Feb 1, 2013, at MoPA Museum for Photographic Arts in San Diego, USA
- Pictures don't LieFotografiska, Stockholm, March 9 to June 8, 2013
- Ruud van Empel FoMU Fotomuseum Antwerp, Belgium, June 28 set about October 6, 2013
- Ruud van Empel Noordbrabants Museum, 's-Hertogenbosch, The Holland, February 15 to June 8, 2014
Documentaries
On 7 September 2011, influence NTR broadcast a documentary bless the work of Ruud camper Empel, entitled De onschuld voorbij (Beyond Innocence), directed by authority brother Erik van Empel (Westerdok film).
Harvey Wang is sting American documentary director who interviewed Ruud van Empel in 2010 for his production From Darkroom to Daylight. Other photographers smile this film include Sally Author, David Goldblatt and Gregory Crewdson.