Hiroshi Sugimoto, ‘U.A. Playhouse, Great Neck, New York’, 1978, San Francisco Museum of Modern Art (SFMOMA)
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Hiroshi Sugimoto

U.A. Playhouse, Great Neck, New York, 1978

Gelatin silver print
16 5/8 × 21 7/16 in
42.2 × 54.5 cm
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About the work
Provenance
Medium
Image rights
© Hiroshi Sugimoto
Hiroshi Sugimoto
Japanese, b. 1948
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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.”

Hiroshi Sugimoto, ‘U.A. Playhouse, Great Neck, New York’, 1978, San Francisco Museum of Modern Art (SFMOMA)
Save
Save
View
View in room
Share
Share
About the work
Provenance
Medium
Image rights
© Hiroshi Sugimoto
Hiroshi Sugimoto
Japanese, b. 1948
Follow

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.”

Hiroshi Sugimoto

U.A. Playhouse, Great Neck, New York, 1978

Gelatin silver print
16 5/8 × 21 7/16 in
42.2 × 54.5 cm
Want to sell a work by this artist? Consign with Artsy.
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