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Hiroshi Sugimoto
For more than 30 years, Hiroshi Sugimoto has traveled the world photographing its seas, producing an extended meditation on the passage of time and the natural history of the earth reduced to its most basic, primordial substances: water and air. Always capturing the sea at a moment of absolute tranquility, Sugimoto has composed all the photographs identically, with the horizon line precisely bifurcating each image. The repetition of this strict format reveals the uniqueness of each meeting of sea and sky, with the horizon never appearing exactly the same way twice. The photographs are romantic yet absolutely rigorous, apparently universal but exceedingly specific.
Hiroshi Sugimoto
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Hiroshi Sugimoto
'Hiroshi Sugimoto: Still Life' includes 'Polar Bear' (1976), his first photograph from the Diorama series, exhibited along with later works from the 1980s, 1990s, and, most recently 2012. Where many of the earlier silver gelatin prints present animals, a number of the 2012 photographs including Mixed Deciduous Forest and Olympic Rain Forest focus on natural landscapes. He has likened the record created by photography to a process of fossilization - the evidence of a moment suspended in time.
Hiroshi Sugimoto
Genius of the large-format camera, the long exposure and the silverprint, New York-based photographer Hiroshi Sugimoto has made pictures that seem to contain whole aeons of time within themselves, and suggest an infinite palette of tonal wealth in blacks, grays and whites. Many of these images have now become a part of art culture's popular image bank (as U2's use of Sugimoto's "Boden Sea" for the cover of their 2009 album, No Line on the Horizon, demonstrated), while simultaneously evoking photography's earliest days: "I probably call myself a postmodern-experienced pre-postmodern modernist," he once joked to an interviewer. This absolutely exquisite retrospective is an expanded edition of ...
Sugimoto Portraits
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Hiroshi Sugimoto. Stop time. Ediz. italiana e inglese
I retraced the paths which photography's two inventors Daguerre and Talbot followed en route to their invention. For almost 180 years, it is photography that has determined how mankind sees its own history and perceives the world. Our collective history has been stopped, saved, and repeatedly scrutinized to the point of banalization. History, one might say, is not truly history until photography has thoroughly trivialized it. The day when mankind will realize its deep-seated desire to bring time to a stop is coming inexorably closer. Time exists only through the agency of human perception. Only when mankind vanishes from the earth can we truly claim to have halted time's progress. It is not ...
Hiroshi Sugimoto
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Hiroshi Sugimoto
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Hiroshi Sugimoto: Architecture
Known for his long-exposure photographic series of empty movie theaters and driveins, seascapes, museum dioramas, and waxworks, Hiroshi Sugimoto has been turning his camera on international icons of twentieth-century architecture since 1997. His deliberately blurred and seemingly timeless photographs depict structures as diverse as the Empire State Building, Le Corbusier's Chapel de Nütre Dame du Haut, and Tadao Ando's Church of Light in Osaka. The resulting black-and-white photographs, shot distinctly out of focus and from unusual angles, are not attempts at documentation but rather evocation--meant to isolate the buildings from their contexts, allowing them to exist as dreamlike, uninhabited ideals. Among the other buildings represented in the series are Philippe Starck's Asahi Breweries, Fumihiko Maki's Fujisawa Municipal Gymnasium, the United Nations Building, the Chrysler Building, Giuseppi Terragni's Santelia Monument Como, the World Trade Center, Mies van der Rohe's Seagram Building, Antonio Gaud''s Casa Batll* II, the 1922 Schindler House, and buildings by Frank Gehry, Frank Lloyd Wright, and many others in Europe, North America and Asia.
Hiroshi Sugimoto
This is the first volume to present a group of works that the artist has been working on for a long time. Under the title of Revolution, night time seascapes are presented in large format, capturing the course of the moon over a longer period of time. The special way the pictures are exhibited?the images are turned ninety degrees?creates disturbing impressions that, depending on the region of the world and the latitude, exhibit clear distinctions.
