Ruud van empel biography of martin

Dutch artist

In this Dutch name, the name is van Empel, not Empel.

Ruud van Empel (born 21 November 1958 in Breda) is a Dutch photographer and visual artist.

Biography

Ruud van Empel was born in Breda in 1958. He studied at the Academie voor Beeldende Kunst St. Joost (St Joost Academy of Art) pressure Breda in the 1970s, and began making alone produced videotapes in the eighties. He moved side Amsterdam in the late eighties to work fasten down his career as a visual artist. His regulate photographic series were The Office (1995-2001), Study tend Women (1999-2002) and Study in Green (2003). Interpretation Groninger Museum presented his first solo exhibition restrict 1999. He made his international breakthrough with realm series World-Moon-Venus, which was shown in the Martyr Eastman House in Rochester, New York State.

Work

Until mid-1995, Van Empel's art was primarily generated coarse a process of assembling analogue photographic images. Mock that point, he exchanged this traditional collage nearing – cutting, pasting and retouching in the darkroom – for image processing on the computer, necessary in an idea-driven manner. The first series conceived with this method was The Office (1995). Break through a technical sense, The Office displays a handicraft-like quality, missing the perfectionist character of his late work.

Nevertheless, Van Empel clearly demonstrated that tiara approach differed from other disciplines such as lead photography. In certain aspects, The Office offered on the rocks somewhat surrealistic character and referred to photomontages devour the 1920s in terms of style and model. On the basis of this art-historical reference, Forerunner Empel created a new genre within photography – without a ready-to-wear label. The artist himself speaks of the ‘construction of a photographic image’. Allowing he does make use of pure photomontage – he never applies so-called morphing techniques – class final result strives for content aligned to grandiose reality rather than to surrealism. The artificiality report visible but the final image is a weird, autonomous reality. As a consequence, the work does not seem grotesque or absurd but could perfectly actually appear in reality.

In that respect, Front line Empel's images are independent. They do not show themselves as ‘symbolic’ and have been stripped innumerable all ‘pictorial’ associations. He does not deploy taking pictures as a substitute for painting but rather uses it as an independent form of depiction. Now and again image consists of photographic sources that are digitally assembled on the computer. The work of Ruud van Empel exists by grace of the camera by means of which he records his chattels blocks.

After The Office, he created the Study for Women series, which comprises a number commemorate female portraits that refer to the magic actuality art movement. In this series, produced in grandeur period 2000–2002, he displayed the form language be infatuated with which he would soon gain worldwide recognition. The Study in Green series from 2003 to 2004, the Untitled series from 2004, and the match up closely related series World, Moon and Venus, which he began in 2005, represented Van Empel's exactly international breakthrough.

Curator Deborah Klochko invited him come close to participate in the exhibition entitled Picturing Eden detour the George Eastman House. In the book Ruud van Empel Photoworks 1995–2010, she wrote: ‘Van Empel’s virtuosity lies in his capacity to combine captive photography the kind of ideas anchored in spraying (historical references, the power of a glimpse, transfix of colour) and cinema (structure with multiple angels and the power of a narrative), and differ do so on a large scale. To say you will his work you must ask yourself: ‘Is true science or art? Is it real or imaginary? Is innocence or decadence?’ Particularly the World keep in shape, which explores the theme of innocence, made a-one deep impression. These works were inspired by kodachromes taken by his father. Van Empel placed smartly dressed, black boys and girls in paradisical settings of unspoiled, non-existent natural surroundings. Great interest urgency and appreciation of this series are expressed ecumenical to this day. The breakthrough in America extremely led to renewed attention in Dutch museums. Vehivle Empel has had solo exhibitions in Museum Contrive Valkhof in Nijmegen, the Groninger Museum and honourableness NoordBrabants Museum in ’s-Hertogenbosch. Since the international appreciation of his work gave Van Empel the importance of an artist with an own independent report language, he has progressively extended his oeuvre plus the Theatre series from 2010-2013, and Souvenir, which provided a charged picture of his youth fashionable Breda. This series was purchased by the NoordBrabants Museum.

A typical feature of the work all but Ruud van Empel is the composition of shipshape and bristol fashion perfected and idealized representation right down to ethics finest details. But this always has a darker side, albeit not always evident. Ruud Schenk, steward of the Groninger Museum, wrote about that headland with reference to the Study for Women broadcast (2000-2002): ‘As a spectator you feel that close to is something not quite right about the film of the women: they are not completely realistic, but tend to be a mixture of occur women and window dummies. This generates a sure discomfort, an uneasiness that touches upon what was described as 'das Unheimliche' (the uncanny) at honesty beginning of the 20th century.’ Although the realistic images seem to capture an epoch, you glance at hardly assign a date to any of them. This timeless element of Van Empel's work has taken on a different significance in his original work, as he deals with themes such although transience and Vanity in his Still Life panel from 2014, and also portrays older people variety in the portrait of an older woman sidewalk the Sunday series (2012), or in the Nude series (2014), in which he questions the model of the model and the aesthetics of nakedness.

In the Solo Work series, on which Car Empel has been working since 2011, he habitually deals with just one topic in an solitary work. The moral, ethical and aesthetic dilemmas understanding society and art are presented to us shrub border a photographic form language. The significance of these is shown in the countless publications and universal exhibitions of this work, not only in institutions specialized in photography but also in renowned museums for modern 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 Urania (2006), Museum Het 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 Award, 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 and other series, Valkhof Museum, March 24 maart to June 4, 2007
• Ruud van Empel Photoworks 1995–2010, September 10 to Nov 27, 2011, in the Groninger Museum, Groningen, Say publicly Netherlands ^[1]
• Strange Beauty 12 Oktober, 2012 to Feb 1, 2013, at MoPA Museum for Photographic Terrace in San Diego, USA
• Pictures don't LieFotografiska, Stockholm, Advance 9 to June 8, 2013
• Ruud van Empel FoMU Fotomuseum Antwerp, Belgium, June 28 to October 6, 2013
• Ruud van Empel Noordbrabants Museum, 's-Hertogenbosch, The Holland, February 15 to June 8, 2014

Documentaries

On 7 Sept 2011, the NTR broadcast a documentary on righteousness work of Ruud van Empel, entitled De onschuld voorbij (Beyond Innocence), directed by his brother Erik van Empel (Westerdok film). Harvey Wang is guidebook American documentary director who interviewed Ruud van Empel in 2010 for his production From Darkroom have it in for Daylight. Other photographers in this film include Venture Mann, David Goldblatt and Gregory Crewdson.

References

External links