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Publisher: New York and London: Sonnabend Sundell Editions and eyestorm, 2000
Edition: 1st Edition
Condition: New / No dust jacket as issued
Item #: 100145
Price is net to all; promotional discounts do not apply.
First edition, first and only printing. Limited edition of 1000 copies, with a signed, hand-pulled photogravure (U.A. Walker, New York, 1978; image size 11-1/2 x 17-1/2 inches; paper size 17-1/2 x 21-1/2 inches), contained in a custom, piano-hinged, brushed aluminum case with edition number hand written on a printed label affixed to the inside of the lid. Hardcover; no dust jacket as issued; with aluminum slipcase. Photographs and text by Hiroshi Sugimoto. Essay by Hans Belting. Designed by Takaaki Matsumoto and Larissa Nowicki of Matsumoto Incorporated, New York. Also includes an exhibition history, bibliography and index. 224 pp., with 96 quadtone plates. 12 x 11 inches.
[Cited in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004).]
New in publisher's packaging (opened only for inspection).
All images were scanned and separated using quadratone separation, by Robert J. Hennessey. All plate sections were beautifully printed using drytrap offset printing on Mohawk Superfine Smooth Eggshell 100lb paper, by Meridian Printing, Rhode Island. The cover was silk-screened with Day-Glo ink and then matte film laminated. The book was Smythsewn bound and is enclosed in a specially designed brushed aluminum slipcase. The design and reproductions are absolutely exquisite and it is one of the most beautiful photography books I have ever seen!
This deluxe limited edition is accompanied by a limited edition of Hiroshi Sugimoto's 'U.A. Walker, New York, 1978' photograph, scrupulously reproduced in hand-pulled photogravure by the renowned printer Jon Goodman.
From the publisher: "This book is the first-ever [major] collection of Hiroshi Sugimoto's 'Theaters' photographs. To create each image, Sugimoto would take a long-exposure photograph of a cinema screen for the entire duration of a movie, resulting in a blank white screen. 'Different movies give different brightnesses,' he said. 'If it's an optimistic story, I usually end up with a bright screen; if it's a sad story, it's a dark screen. Occult movie? Very dark.' The project was partly the result of wanting to make a simple form visible: 'The simplest forms have authority, like a blank white light. And how do you photograph that? You need a framework to make it visible. But this is not simply white light; it is the result of too much information.'"