Genius of the large-format camera, the long exposure and the silverprint, New York-based photographer Hiroshi Sugimoto has made pictures that seem to contain whole aeons of time within themselves, and suggest an infinite palette of tonal wealth in blacks, grays and whites. Many of these images have now become a part of art culture's popular image bank (as U2's use of Sugimoto's "Boden Sea" for the cover of their 2009 album, No Line on the Horizon , demonstrated), while simultaneously evoking photography's earliest days: "I probably call myself a postmodern-experienced pre-postmodern modernist," he once joked to an interviewer. This absolutely exquisite retrospective is an expanded edition of Hatje Cantz's 2005 volume. It is the first to feature works from all of Sugimoto's series to date: his celebrated portraits of wax figures, his incredible seascapes that seem to suggest a person's first conscious view of the ocean, the extremely long exposures of theaters which elevate the white, luminescent cinema screen and transform it into a magical image of an altar and the fascinating dioramas of scientific display cases, which invite us to travel far into the past. Additions to the original edition are two new groups of works, "Lightning Fields" (2006) and "Photogenic Drawings" (2007).
Hiroshi Sugimoto was born and raised in Tokyo, Japan, where he studied politics and sociology at St. Paul's University, later retraining as an artist at the Art Center College of Art and Design in Los Angeles, CA. He currently lives in New York City.
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日本的现代性始终有传统神道教那种模糊的美其名曰含蓄的所谓东方神秘性，这种东西对西方人有效，对中国却无益。中国太过于广博也太过于丰富，不会驻足不分天地含混而一的美学。中国文化是万类不同而独立相依生长以构成天地，但日本现代性的含混却很容易吸引涉世不深的中国人。
评分有点宗教意思
评分趨之若鶩
评分比起摄影家，杉本博司更多是使用相机这种工具的艺术家。
评分趨之若鶩
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