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Hiroshi Sugimoto: Theaters

Publisher: New York and London: Sonnabend Sundell Editions and eyestorm, 2000
Edition: 1st Edition
Binding: Hardcover
ISBN: 0615115969
Condition: Fine / No dust jacket as issued
Item #: 113417

$325.00

Specifics

First edition, first and only printing. 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. All images were scanned and separated using quadtone 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! This first trade edition was limited to 4000 hardbound copies. Out of print. Scarce.

[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).]

Condition

Fine in Near Fine slipcase (very small bumps at corners of slipcase, with some overall wear).

Description

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.'"