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JEAN RUITER PROJECT / Archive and Stock Sales photoworks Jean Ruiter
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30 / De-constructions / 1996 -2004
01 / Coffee Can with Black dots / 1996 / 85x100cm / black frame / € 2175 euro
02 / Tokkuri / 1999
03 / Nietzsche / 1996
04 / Tea Cup / 1996
05 / Japanese Cup / 1999
06 / Kitchen Chair / 1996
07 / Chinese Vase / 1996
08 / Delft’s Blue Tea Pot / 1996 / 87x103.5cm / mounted on board / € 1975
09 / Tea Pot / 1996
10 / Delft’s Blue / 1996
11 / Coffee Pot / 1996
12 / Rietveld Chair / 1996 / 76.5x100cm / black frame / € 2175
13 / Blue Tea Pot / 1996
14 / Wasatch Indian Chief / may ‘00
15 / Mexican fruit bowl / nov. '00 / 77.5x101cm / oak frame / € 2175
16 / Shadow Fight / may '01 / information not available yet
17 / Kitchenware / may-2001
18 / Table / 2002 / 87x110cm / mounted on board / € 2275
18 / Table / may 2002 / 80x102cm / mounted on board / € 2175
19 / 3 tea-pots / june 2002 / 69.5x123cm / mounted on board / € 2175

If you are interested in obtaining a photowork, please contact us

Related Text:
Jean Ruiter: A Multifaceted Explorer by Merel Ligtelijn (Dutch)


Jean Ruiter: A Multifaceted Explorer
by Merel Ligtelijn
Trouw, art section, 1997

AMSTERDAM-97 The retrospective exhibition of the Netherlands' most onorthodox photographer, Jean Ruiter, now in the Amsterdams Fotografisch Centrum , displays only a tip of the iceberg of the fourteen monumental projects he's created since 1984. Whether he likes it or not, Ruiter is an explorer. He immediately comments on circumstances he encounters in far-away places. These vary from the current culture of the body to the impressive rituals of Shinto priests, deceitful practices of German companies such as Daimler-Benz and Karl Kopp, elections in the United States, tourism on Turkish beaches and insatiable Western greed.

Ruiter doesn't take quick documentary snapshots. He's also a globetrotter within the medium of photography, exploring its borders with a great openness of mind. Ruiter makes well thought-out two or three-dimensional multi-media photo-projects, combined at times with sound. In his multiply-layered work, drama, satire, kitsch, reality and unreality flow over into one another.

Loose
In the 1995 series "Chaotic Messages, Solid Images" from which two works are on view, Ruiter presents a loosely constructed collage of things which apparently have nothing to do with one another. The series is intended as anti-photography, since present-day photography requires a complete image, a reproduction of reality. But that's not the way we look at things, according to Ruiter. Every day we internalize a multitude of impressions. Our looking occurs in fragments, in disjointed images. Ruiter combines photographs of a ladle, a stapler and a rubber glove with a magazine photo of Michael Jackson, who, with his face scratched out, has finally achieved anonymity.

Stump
In this series, Ruiter makes an exceptional appearance as the protagonist : with a tree stump on his nose he stands like a surrealistic giant bird beside a colossal cactus. Ruiter has brought all such details from a random day in his life together in one concrete, orderly whole. For according to Ruiter, chaos doesn't exist. Chaos simply means that your ability to understand has proved insufficient. You can increase that ability, he believes, by looking at the fragmentary character of reality from a distance, and bringing parts of it together in an enclosed whole. Some do that only in the mind, others on paper; Ruiter uses his camera.

Deconstructions
Winding like a thread through the span of thirteen years covered in this exhibition is Ruiter's ongoing series "Deconstruction". Three of these works are shown, among which the teapot that is no longer a teapot, but can still be recognized as such. Ruiter smashed this utilitarian object to smithereens, glued all the parts together again and reconstructed the whole into another, almost immaterial dimension, which he recorded photographically. A chopped-up Rietveld chair he similarly raised to a higher order. In the present era of construction, the deconstruction of twentieth century icons is absolutely necessary, according to Ruiter. He is in fact equating deconstruction and construction here. In effect Ruiter is continually working with hat you could call a binocular-perspective. He bridges distances. He bridges the gap between the various art disciplines and between opposites like far away-close up, small-large, tear down-build up, present-past and unity-fragmentation.Ruiter has deconstructed both literally and figuratively by transporting architectural achievements of old European culture to North America, the New World. He supplied the Santo Spirito of Florence with an Americanized antipode in the scorching heat of the Californian desert. He made a gigantic iron paling on which he reproduced the facade to scale using synthetics, wood, foam plastic and other everyday materials he bought locally at the wholesaler's. He then stuk 2500 red-and-white Heinz ketchup packets and the odd shriveled branch to the front. This brilliant hallucinatory landscape is part of his 1994 series "Cathedrals in the Desert," in which various monumental symbols, removed from their original context, degenerate into pointless facades. Another cathedral he covered from top to bottom with weighty meat cutlets. Ruiter hoped in vain that large birds would descend upon it during its making and tear off the bloody masses of muscle and flesh. Not one bird showed.The next morning he went back to see whether gluttonous coyotes had left any meat behind. It turned out that greedy human hands-so often criticized by Ruiter had purloined the whole cathedral, right down to the last steak.