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Hiroshi Sugimoto: Seascapes

Hiroshi Sugimoto: Seascapes

Often, a soft, opaque mist overtakes the frame and connects the ocean to the air as it was in the beginning of the Babylionian creation myths invoked by Munesuka Mita in his introductory essay.

A sociologist Munesuke Mita makes Seascapes the rare art book that asks its reader to understand a differential equation, in this case one describing a the pattern population increase and equilibrium of a well-adapted species in a new environment.

Seascapes is art for the plateau, a group of images that measure time not by growth but in repetition. Whereas the historical consciousness of modernity and capitalism, linked to a teleological Christian eschatology, insist on the unfurling of time as ineluctable from either growth and progress and the kingdom of heaven or catastrophic decline and the end of days Seascapesas it draws from pre-modern and non-western sources, allows the procession of time as something other than narrative dominated by an ending.

None of this, though, necessarily detracts from the images or the project. All rights reserved. Text Owen Campbell. Images Hiroshi Sugimoto. Tyrrhenian Sea, Priano, Baltic Sea, Rugen, Tyrrhenian Sea, Scilla, Load More.Send us the details and your net price and we will match it to our database of collectors. Abstract art uses visual language of form, shape, line and color to achieve its desired effect. However, it does not attempt or seek to represent external reality but the created abstract art composition may exist with a level or degree of independence from the world's visual references.

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Hiroshi Sugimoto is a photographer from Japan. He speaks of his work as showing "time exposed," which means that his images provide a lasting record for events that happen. Ask a Question. He took many of his influences from the works and writings of Marcel Duchamp as well as other Surrealist and Dadaist artists.

Hiroshi Sugimoto also draws from influences in architecture from the late twentieth century. Sugimoto's photography involves using an 8x10 large-format camera with lengthy exposures. New Artworks? Enter your Email. Update Me. Hiroshi Sugimoto Caribbean Sea, Jamaica, Upload your artwork. What is abstract art? Seek an Artwork by Hiroshi Sugimoto. Find Art Now. Related Artists. Weiwei Ai 4 Works for Sale.

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Subscribe to our Newsletter. By providing your email address, you agree to Privacy policy And Terms of Service. By providing your email address, you agree to Privacy policy and Terms of Service.Hiroshi Sugimoto has over the years become one of the most critically acclaimed artists and photographers of his generation.

He is perhaps best known for his ongoing series of photographs of cinema interiors, of seascapes, and of dioramas from the American Museum of Natural History in New York. Using a large-format camera and often exposing his negatives for several hours, Sugimoto produces images with striking visual clarity that provide a mesmerizing meditation on the nature of time.

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Photography is like a found object. A photographer never makes an actual subject; they just steal the image from the world… Photography is a system of saving memories. Born in Tokyo on the 23rd of February inSugimoto began his photography journey at the age of twelve when his father gave him a Mamiya 6 medium-format camera.

While studying at the college, Sugimoto noticed that many of the students had an interest in Zen Buddhism.

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After realizing that his interest in foreign cultures had led him to neglect his own Japanese culture, Sugimoto began to study Eastern philosophy and Zen.

I came to California in and so many people were asking if I was a Buddhist or knew Zen theory, asking if I was enlightened already or not. He then returned to Japan for a few months before moving to New York in late In New York, Sugimoto worked as an assistant to various commercial photographers; he would later describe these jobs as ending in mutual dissatisfaction. Sugimoto spent most of the late s and early s visiting shows at small galleries in Soho and considering his own relationship to contemporary art.

Hiroshi Sugimoto on “Gates of Paradise” - Part 2

During this time, he met artists central to the minimal and conceptual art movements. Sugimoto has described his process of artistic exploration in this period as relatively slow.

It should be noted though, that the ideas for many of his best-known series were formed in these years:. InSugimoto and his wife opened a Japanese antique shop, which initially specialized in Japanese folk art, but grew to include a rare collection of Eastern antiquities. The shop provided an independent source of income and a space that could be used as a darkroom.

Sugimoto was awarded a Guggenheim Fellowship in at the age of The following year, he had his first solo exhibition at the Sonnabend Gallery, New York.

After he closed the shop, he collected antiques for himself and began incorporating these and other objects into his work. This show led to greater recognition, which provided Sugimoto with the financial means to expand his artistic practice.

Today, Hiroshi Sugimoto divides his time between Tokyo and New York, continuing to perfect his photography craft while working on new photography and architecture projects. Like many great artists, Sugimoto works in series. The final collection includes a polar bear floating on an ice cap, exotic monkeys in the jungle, and vultures fighting.

While looking at one of the dioramas, Sugimoto randomly closed one eye. He then realized that by looking at something with just one eye, he flattened the entire scene, making it look just as it would if photographed with a camera lens.

Sugimoto returned to the museum with his camera and took some black and white photographs of the dioramas.

Hiroshi Sugimoto: Seascapes

What surprised Sugimoto most about the series was that his photos look like they were shot on location, and not in front of a three-dimensional representation of a real location.

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. Photography is making a copy of reality, but when it is photographed twice it goes back to the reality again. That is my theory. The project, which was funded by the Guggenheim Museum in Denmark, captures wax figurines of famous people throughout history based on their portraits from the 16th century.

For the series, Sugimoto took three-quarter view photos, using 8-byinch negatives, of the most realistic looking wax figures at the museums.We use cookies to improve your shopping experience.

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Hiroshi Sugimoto: Capturing the Transience of Time

Find out more. News 27 Jul. London by Gian Butturini: suspended sales Read all 11 May. Published by Damiani and MW Editions. New edition with unpublished photographs. ISBN: For more than 30 years, Hiroshi Sugimoto has traveled the world photographing its seas, producing an extended meditation on the passage of time and the natural history of the earth reduced to its most basic, primordial substances: water and air.

Always capturing the sea at a moment of absolute tranquility, Sugimoto has composed all the photographs identically, with the horizon line precisely bifurcating each image.

The repetition of this strict format reveals the uniqueness of each meeting of sea and sky, with the horizon never appearing exactly the same way twice. The photographs are romantic yet absolutely rigorous, apparently universal but exceedingly specific. In Damiani published the first edition of 'Seascapes', the complete series of more than Seascapes for the first time in one publication. The new edition of this book contains five new, previously unpublished photographs taken by Sugimoto.

Barthelemy St. Eustatius St.Look for the plus icon next to videos throughout the site to add them here. His interest in art began early. This theme provides the defining principle of his ongoing series, including Dioramas —Theaters —and Seascapes —.

Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He places extraordinary value on craftsmanship, printing his photographs with meticulous attention and a keen understanding of the nuances of the silver print and its potential for tonal richness—in his seemingly infinite palette of blacks, whites, and grays.

Hiroshi Sugimoto discusses the ways in which his work both utilizes and reinvents artistic traditions. Art21 Library Explore over videos from Art21's television and digital series. Latest Video Add to watchlist. Haunting the West.

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Search Searching Art21…. Welcome to your watchlist Look for the plus icon next to videos throughout the site to add them here. Save videos to watch later, or make a selection to play back-to-back using the autoplay feature. Hiroshi Sugimoto. Read more. Videos 6 Add to watchlist.

Becoming an Artist. Cabinet of Curiosities. Hiroshi Sugimoto in "Memory". Season 3 of "Art in the Twenty-First Century". Interview Tradition Hiroshi Sugimoto discusses the ways in which his work both utilizes and reinvents artistic traditions. Artist at Work 24 Images. Artwork Survey: s 15 Images. Artwork Survey: s 11 Images. Artwork Survey: s 1 Images.Hiroshi Sugimoto's work has achieved widespread recognition for its exploration of abstract concepts, such as time, vision and belief, through meticulously balanced images that encourage prolonged attention and serve to focus audience consideration on the ways in which humanity makes sense of itself.

He was heavily influenced by his involvement with New York's Minimal and Conceptual art scenes in the late s and the degree to which he used the camera as a means of engaging with ideas played a significant role in expanding photography beyond documentary uses.

His best-known series draw heavily upon repetition, unifying disparate locations through shared compositions, and are characterized by use of long exposures, black and white film, and analog processes. In recent years, Sugimoto has begun to design architectural spaces that, like his photographs, use simplicity of form to focus attention on the mechanisms through which we understand the world.

Hiroshi Sugimoto was born in Tokyo in Reflecting on childhood memories, Sugimoto feels he gathered images and sensations that he would later explore through art. Sugimoto was moved by specific subjects, such as the view of the horizon across the ocean seen through the window of a train which he recalls from age fiveand he discovered new ways to look at the world, imagining himself from alternate perspectives, including from the ceiling of a room.

This interest in creating distance between the viewer and everyday life through shifts in perspective can be seen across many of Sugimoto's later works. Sugimoto was given his father's Mamiya 6 camera when he was twelve and began experimenting with it as a teenager; he would photograph Audrey Hepburn on screen as her movies played at the local theatre.

The image portrays a bear in an arctic landscape paused above the body of a seal and is deliberately constructed, with use of reflectors to capture the texture of fur and careful calibration of exposure time to isolate the white shades of bear and backdrop, so that the scene appears real.

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Sugimoto's photographs of dioramas provoke a questioning of the ways in which museums display natural history, suspending time through images in which the slippage between the wild and the artificial becomes palpable.

Sugimoto creates his work with a large-format wooden camera and photographs in black and white, developing the images according to the recipes of Ansel Adams, furthering the illusion of the diorama as he removes the artificial colors of the painted backdrop. This image, like Sugimoto's work more broadly, is closely involved with the history of photography and notions of time in relation to and apart from human history.

The diorama, as a means of presenting the world, became popular in the late th century, in the same period in which photography began to be lauded for its scientific accuracy, and both technologies derived power from their ability to capture and preserve specific moments.

Sugimoto's major contribution to visual art lies in the craft with which he uses the camera's relationship to time and its capacity for illusion to focus our attention on ways in which humans makes sense of the natural world. Sugimoto has continued exploring the concepts central to the Dioramas series in other works, including Portraits - presentwhich takes another 19 th -century technology, the wax figure, as a subject.

The Seascapes series - present continues Sugimoto's investigation of time in relation to history and to photography itself. Ligurian Sea, Saviore shows water and air bisected by the horizon, captured in black and white in a long exposure.

The image offers no trace of the vantage point from which the photograph was taken, leading the viewer to feel as if they are suspended, floating, between sea and sky.

Hiroshi Sugimoto’s ‘Seascapes’: Measuring Time in Repetition

Sugimoto's Seascapes are all composed in this manner, drawing upon the horizon as a point of orientation across cultures and across time. The format serves to unify disparate locations, positioning the sea as at once universal and singular; each image conforms to a type that allows specificity.

In Ligurian Sea, Saviorethe sea and sky appear indistinct, as if enveloped in fog, with only close scrutiny revealing the darker grey of the horizon line and a hint of the ripples of the water in the foreground. Seascapes is deeply conceptual and Sugimoto has written that this work comes out of his understanding of the ocean as an expanse that has lasted through millennia, connecting us with a past that precedes recorded history, and his contemplation of the ways in which a camera can capture what the eye cannot.

The photographs from this series are usually displayed in groups of three, further emphasizing the universality of the ocean. The Color of Shadows series can be seen as indicative of Sugimoto's desire to push his investigations to their limits, involving elaborate staging in pursuit of a seemingly simple study of the effects of light. Color of Shadows,depicts a white corridor leading to a white wall, with only the hint of wooden floorboards at the lower edge of the frame disrupting the ascetic space.

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The image's formal definition is provided by the tones and colors of shadow, with blocks and gradations creating depth and visual interest. Sugimoto's vision for the project required him to redesign the interior of a hilltop penthouse, surfacing the walls in shikkuia Japanese plaster which absorbs and reflects light evenly.

The subsequent photographs record the light and shadows at different angles, exposures, and times of day, directing attention to the volumes and corners of the space's architecture. This series, like others by Sugimoto that take modern and contemporary architecture as subject, can be seen as a new phase in his engagement with physical space and the history of photography.

The photographic image, at its most basic, is formed by light registering on a surface, and Sugimoto's series returns the viewer to this principle, explicitly directing attention to the formal qualities of shadow. Sugimoto's images of austere, formally pure interiors strip away superfluous detail, creating a suspended state in which it is the play of light and shadow that connect the world of the image with the world outside.

Sugimoto's camera captures the ephemeral and allows us to contemplate it at a duration and with a remove which would otherwise be impossible. The value of Color of Shadows, is dependent upon the viewer's intuitive appreciation of subtle gradations of tone and color and, in this, can be considered as a commentary on the way in which we are emotionally moved by the elements that sustain earth, including light.Hiroshi Sugimoto is a photographer who was born in Japan in and now divides his time between Tokyo and New York City.

Both cities influence the works of Sugimoto, who began dabbling in photography in high school. His architectural practice was established in Tokyo after receiving several requests to design structures. Architecture and structure are evident in a number of his work and exhibitions, even in his photography. The series Seascapes consists of hundreds of black and white photographs of the motionless ocean, captured in a simply picturesque and otherworldly way.

The calm simplicity of the images is meditative, using repetition as a tool. Seascapes saw its start in the s and captured the view of the ocean over and over again in perfect simplicity. The theme of repetition continues as each black-and-white picture is in the same size, separated in half by the horizon line. Hiroshi uses an old-fashioned large-format large-format camera, often using prolonged exposure times to produce flat and clean images.

In them, the ocean has permanent creases rather than ripples and waves.

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He freezes time; he stills movement, and in some cases, makes the seascape into an unrecognizable abyss. His use of light and dark, a haunting contrast, demonstrates the never-ending battle between life and death.

Hiroshi Sugimoto: Seascapes

It shows that life is fleeting. One day, I simply turned it around. Suddenly, it was no longer the view of the Moon from the Earth. It became a view of the Moon from a spaceship, hanging over the Earth. But on the surface of the Earth, the farthest place people can see is a sea horizon. So my work hopefully gives us an opportunity to think before destroying ourselves. The black and white photographs stand out from the works of other photographers in their use of natural light.

Hiroshi Sugimoto: Seascapes

As viewers gaze onto the frozen horizon, they too lose their sense of our concepts of time, space and place. Seascapes inspire reflection; reflection about the origin of cultures, the origin of our world, and the journey it took to get where we are now.

The place we are in, space and time, like life, is only a fleeting moment, part of the journey itself. As a photographer, Hiroshi Sugimoto has a reputation for having some of the most impressive technical abilities. This comes from his use of the old large-format camera and his use of long exposure. This skill is evident in the way that the vast ocean and horizon become frozen into a structure. All images Hiroshi Sugimoto unless otherwise noted. More by Hiroshi Sugimoto.

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