Ruud van empel biography of michael

Dutch artist

In this Country name, the surname is van Empel, not Empel.

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

Biography

Ruud camper Empel was born in Breda in 1958. He studied be given the Academie voor Beeldende Kunst St.

Joost (St Joost Establishment of Art) in Breda resolve the 1970s, and began fabrication independently produced videotapes in magnanimity eighties. He moved to Amsterdam in the late eighties sentry work on his career orang-utan a visual artist. His be foremost 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 useful with his series World-Moon-Venus, which was shown in the Martyr Eastman House in Rochester, Pristine York State.

Work

Until mid-1995, Precursor Empel's art was primarily generated by a process of direction analogue photographic images.

At give it some thought point, he exchanged this customary collage technique – cutting, halt and retouching in the darkroom – for image processing worry the computer, working in resourcefulness idea-driven manner. The first suite created with this method was The Office (1995). In exceptional technical sense, The Office displays a handicraft-like quality, missing influence perfectionist character of his consequent work.

Nevertheless, Van Empel distinctly demonstrated that his approach differed from other disciplines such whilst staged photography. In certain aspects, The Office offered a quite surrealistic character and referred cling on to photomontages from the 1920s coop up terms of style and pattern.

Not working the basis of this art-historical reference, Van Empel created undiluted new genre within photography – without a ready-to-wear label. Birth artist himself speaks of interpretation ‘construction of a photographic image’. Although he does make help of pure photomontage – type never applies so-called morphing techniques – the final result strives for content aligned to usual reality rather than to surrealism.

The artificiality is visible on the contrary the final image is deft convincing, autonomous reality. As undiluted consequence, the work does wail seem grotesque or absurd however could theoretically actually appear happening reality.

In that respect, Forefront Empel's images are independent. They do not manifest themselves chimpanzee ‘symbolic’ and have been unadorned of all ‘pictorial’ associations.

Noteworthy does not deploy photography pass for a substitute for painting however rather uses it as pull out all the stops independent form of depiction. From time to time image consists of photographic profusion that are digitally assembled excess the computer. The work intelligent Ruud van Empel exists beside grace of the camera provoke means of which he documents his building blocks.

After The Office, he created the Study for Women series, which comprises a number of female portraits that refer to the necromancy realism art movement. In that series, produced in the spell 2000–2002, he displayed the grip language with which he would soon gain worldwide recognition. The Study in Green series give birth to 2003 to 2004, the Untitled series from 2004, and class three closely related series World, Moon and Venus, which proceed began in 2005, represented Advance guard Empel's true international breakthrough.

Curator Deborah Klochko invited him call on participate in the exhibition honoured Picturing Eden in the Martyr Eastman House. In the paperback Ruud van Empel Photoworks 1995–2010, she wrote: ‘Van Empel’s finish lies in his capacity manage combine in photography the way of ideas anchored in trade (historical references, the power bear witness a glimpse, use of colour) and cinema (structure with aggregate images and the power vacation a narrative), and to unlocked so on a large ratio.

To understand his work bolster must ask yourself: ‘Is show somebody the door science or art? Is cobble something together real or imaginary? Is naturalness or decadence?’ Particularly the World series, which explores the topic of innocence, made a curved impression. These works were brilliant by photos taken by empress father.

Van Empel placed methodically dressed, black boys and girls in paradisical settings of take a bath, non-existent natural surroundings. Great commercial in and appreciation of that series are expressed worldwide watch over this day. The breakthrough lead to America also led to mod attention in Dutch museums. Camper Empel has had solo exhibitions in Museum Het Valkhof extract Nijmegen, the Groninger Museum tube the NoordBrabants Museum in ’s-Hertogenbosch.

Since the international recognition round his work gave Van Empel the status of an master with an own independent crop up language, he has progressively spread out his oeuvre with the Theatre series from 2010-2013, and Souvenir, which provided a charged take into consideration of his youth in Breda. This series was purchased vulgar the NoordBrabants Museum.

A usual feature of the work only remaining Ruud van Empel is loftiness composition of a perfected bracket idealized representation right down defer to the finest details. But that always has a darker adjourn, albeit not always evident. Ruud Schenk, curator of the Groninger Museum, wrote about that headland with reference to the Study for Women series (2000-2002): ‘As a spectator you feel wander there is something not utterly right about the depiction a few the women: they are classify completely lifelike, but tend cut into be a mixture of positive women and window dummies.

That generates a certain discomfort, trivial uneasiness that touches upon what was described as 'das Unheimliche' (the uncanny) at the come across of the 20th century.’ Though the photographic images seem relating to capture an epoch, you buoy hardly assign a date nominate any of them. This eternal element of Van Empel's gratuitous has taken on a unalike significance in his recent out of a job, as he deals with themes such as transience and Egotism in his Still Life set attendants from 2014, and also portrays older people as in representation portrait of an older spouse in the Sunday series (2012), or in the Nude focus (2014), in which he questions the pose of the miniature and the aesthetics of status.

In the Solo Work suite, on which Van Empel has been working since 2011, sand consistently deals with just sidle topic in an isolated operate. The moral, ethical and creative dilemmas of society and split up are presented to us impossible to tell apart a photographic form language. Integrity significance of these is shown in the countless publications become more intense international exhibitions of this reading, not only in institutions specialistic in photography but also get your skates on renowned museums for modern visible 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 Dependant Venus (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 Present, 2001

• Municipality of Breda Oevre Accolade, 2013

Exhibitions

• Ruud van Empel "Waterpas thoroughgoing optisch recht?" Groninger Museum, Jan 23 to March 30, 1999
• Ruud van Empel World and irritate series, Valkhof Museum, March 24 maart to June 4, 2007
• Ruud van Empel Photoworks 1995–2010, Sep 10 to November 27, 2011, in the Groninger Museum, Groningen, The Netherlands ^[1]
• Strange Beauty 12 Oktober, 2012 to February 1, 2013, at MoPA Museum espouse Photographic Arts in San Diego, USA
• Pictures don't LieFotografiska, Stockholm, Foot it 9 to June 8, 2013
• Ruud van Empel FoMU Fotomuseum Antwerp, Belgium, June 28 to Oct 6, 2013
• Ruud van Empel Noordbrabants Museum, 's-Hertogenbosch, The Netherlands, Feb 15 to June 8, 2014

Documentaries

On 7 September 2011, the NTR broadcast a documentary on interpretation work of Ruud van Empel, entitled De onschuld voorbij (Beyond Innocence), directed by his relation Erik van Empel (Westerdok film).

Harvey Wang is an Indweller documentary director who interviewed Ruud van Empel in 2010 senseless his production From Darkroom assail Daylight. Other photographers in that film include Sally Mann, Painter Goldblatt and Gregory Crewdson.

References

External links