Publisher: New York and London: Sonnabend Sundell Editions and eyestorm, 2000
Edition: 1st Edition
Condition: New / No dust jacket as issued
Item #: 111225
Price is net to all; promotional discounts do not apply.
First edition, first and only printing. Boldly signed (in kanji) with a calligraphy brush and rich black ink across the front endpapers by Sugimoto. Hardbound. Photographs from the 'Theaters' series (including movie theaters and drive-in theaters) and a statement by Hiroshi Sugimoto. Essay by Professor 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. This first trade edition was limited to 4000 hardbound copies. Out of print. A very scarce new copy signed in kanji (Sugimoto rarely signs any books in kanji, making this copy very special and rare).
[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 shrink-wrap (slit open for signature).
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 cardboard slipcase covered in silver paper. The design and reproductions are absolutely exquisite and it is one of the most beautiful photography books I have ever seen!
From the publisher: "This book is the first-ever [major] collection of Hiroshi Sugimoto's 'Theater' 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.'"