Publisher: Bologna, Italy: Damiani and Matsumoto Editions, 2014
Edition: 1st Edition
Condition: New / New
Item #: 112820
Price is net to all; promotional discounts do not apply.
First edition, first printing. All three titles boldly signed by Sugimoto in silver marker on the front free endpapers and sharing the following format: Hardcover. Fine cloth-covered boards; with photographically illustrated dust jacket. 11-1/4 x 10-1/4 inches.
Dioramas (2014): 118 pp., with 56 toned plates. ISBN: 9788862083270.
Seascapes (2015): 272 pp., with 213 toned plates. ISBN: 9788862084161.
Theaters (2016): 176 pp., with 130 toned plates. ISBN: 9788862084772.
New in publisher's shrink-wrap (slit open for signature). Dust jacket enclosed in a clear archival Brodart removable protective cover (publisher's shrink-wrap saved and included).
On Dioramas: Hiroshi Sugimoto began to photograph his Dioramas series, a body of work that spans almost four decades, when he moved to New York City from Japan in 1974. While looking at the galleries in the American Museum of Natural History, he noticed that if he looked at the dioramas with one eye closed, the artificial scenes--prehistoric humans, dinosaurs, and taxidermied wild animals set in elaborately painted backgrounds--looked utterly convincing. This visual trick launched his conceptual exploration of the photographic medium, which continues today.
On Seascapes: This volume, the second in a series of books on Sugimoto's art, presents the complete series of over 200 Seascapes, some of which have never before been reproduced. All are identical in format, with the horizon line precisely bifurcating each image, though at times the sea and sky almost merge into one seamless unit. Each photograph captures a moment when the sea is placid, almost flat. Within this strict format, however, he has created a limitless array of portraits of his subjects.
On Theaters: In the late 1970s, as Hiroshi Sugimoto was defining his artistic voice, he posed a question to himself: 'Suppose you shoot a whole movie in a single frame?' The answer that came to him: 'You get a shining screen.' For almost four decades, Sugimoto has been photographing the interiors of theaters using a large-format camera and no lighting other than the projection of the running movie. He opens the aperture when a film begins and closes it when it ends. In the resulting images, the screen becomes a luminous white box, its ambient light subtly bringing forward the rich architectural details of these spaces.