Hiroshi Sugimoto, ‘English Channel, Weston Cliff’, 1994, Phillips

Property Subject to VAT Section 4 (5%; see Conditions of Sale for further information)

Image 41.9 x 54.3 cm (16 1/2 x 21 3/8 in.)
Sheet 47 x 60.3 cm (18 1/2 x 23 3/4 in.)

Signature: signed 'Hiroshi Sugimoto' lower right of mount

New York, The Metropolitan Museum of Art; Houston, Contemporary Arts Museum; Gunma, Hara Museum ARC; Akron Art Museum, Sugimoto, 1995-1996, 21 November 1995 - 31 May 1998, p. 81 (another example exhibited and illustrated, p. 31)
Madrid, Sala de Exposiciones de la Fundación "La Caixa"; Lisbon, Centro Cultural de Belém, Sugimoto, 29 May 1998 - 24 January 1999, p. 140, no. SUG-418 (another example exhibited and illustrated, p. 141)
Tokyo, Mori Art Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden, Hiroshi Sugimoto, 17 September 2005 - 14 May 2006, p. 135 (another example exhibited and illustrated)
Kunstmuseum St. Gallen; Kunstmuseum Bonn, Through the Looking Brain: A Swiss Collection of Conceptual Photography, 14 January 2011 - 29 January 2012, p. 230 (another example exhibited and illustrated)

Pace Gallery, New York
Acquired from the above by the present owner

About Hiroshi Sugimoto

To craft his exquisite black-and-white images, Hiroshi Sugimoto uses a 19th-century-style, large-format camera, exploring his idea of photography as a method for preserving and modeling time. “Endeavors in art are…mere approximations, efforts to render visible unseen realms,” he says. Influenced by Surrealism and Dada, Sugimoto's work is intimately connected to Marcel Duchamp, as in his series "Conceptual Forms" (2004), (inspired by Duchamp's The Large Glass, 1923), large-scale black-and-white photographs of mathematical models and tools. Ongoing subjects include dioramas, theaters, Buddhist sculptures, and seascapes—the latter captured in a famous series of near-abstractions, coupled with specific geographic titles. A supreme craftsman, Sugimoto often varies the length of exposure to achieve tonal richness, as in “Joe” (2006), photographs of Richard Serra’s works that function as visual memories more than documentation. “I imagine my vision then try to make it happen, just like painting,” he says. “The reality is there, but how to make it like my reality.”

Japanese, b. 1948, Tokyo, Japan, based in New York, New York