TITLE

Hiroshi Sugimoto

IMPRINT

Hatje Cantz

PRICE US

$125.00 CDN $125.00

ISBN

9783775724128 TRADE

FORMAT

Clth, 10.25 x 11.25 in., 400 pgs, 47 color, 181 duotone.

CATALOG

FALL 2010 p. 172   

DISTRIBUTOR

D.A.P.

PUB DATE

10/31/2010

STATUS

Active

STOCK

In stock

HATJE CANTZ

Hiroshi Sugimoto

Edited by Pia Müller-Tamm. Text by Hiroshi Sugimoto, Kerry Brougher.

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 Hatje Cantz's 2005 volume. It is the first to feature works from all of Sugimoto's series to date: his celebrated portraits of wax figures, his incredible seascapes that seem to suggest a person's first conscious view of the ocean, the extremely long exposures of theaters which elevate the white, luminescent cinema screen and transform it into a magical image of an altar and the fascinating dioramas of scientific display cases, which invite us to travel far into the past. Additions to the original edition are two new groups of works, "Lightning Fields" (2006) and "Photogenic Drawings" (2007).
Hiroshi Sugimoto was born and raised in Tokyo, Japan, where he studied politics and sociology at St. Paul's University, later retraining as an artist at the Art Center College of Art and Design in Los Angeles, CA. He currently lives in New York City.

“When I first arrived in New York in 1974, I visited many of the city’s tourist sites, one of which was the American Museum of Natural History. I made a curious discovery while looking at the exhibition of animal dioramas: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I had found a way to see the world as a camera does. However fake the subject, once photographed, it’s as good as real.”

Hiroshi Sugimoto, excerpted from his catalogue raisonne, Hiroshi Sugimoto, an expanded reprint of Hatje Cantz’s out-of-print edition from 2005.

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SUGIMOTO, HIROSHI