As with many of Ruff’s other series, these works explore the question of how much visual information is necessary. In contrast to the high resolution potential of digital photography, and to the porn industry’s ideal of sharp images for easy visual consumption, Ruff’s nudes appear painterly and almost abstract.

Thomas Ruff Porn Exhibition For Gagosian

Gagosian Gallery presents two exhibitions by Thomas Ruff – one displaying porn-appropriated Nudes, the other images from Mars

It was the green knickers that did it. Hoisted high on porn-star hips, they struck a bum note among the yards of pink flesh. Whatever triple-X website Thomas Ruff cribbed the woman in nudes sh02 (2001) from, we can be pretty sure that her underwear – the colour and texture of cartoon frogs – came from Photoshop rather than Victoria’s Secrets. Blown up a metre high, Ruff blurred and scumbled the original image, the high-res plasticity of porn giving way to a surface that’s half painterly swooshes, half surveillance camera miasma. As a device for calling attention to the formal beauty of the source material, it only works if we ignore the possibility that shoddy production values are part of Internet porn’s erotic charge. This is where the lily-pad pants come in. It’s not hard to believe that a dingy, pixillated bust gets a certain type of cyberman hot under the collar, but it’s impossible to imagine those green knickers rocking anyone’s world.

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