|
||||||||||||||||||||
|
||||||||||||||||||||
|
||||||||||||||||||||
よく一緒に購入されている商品
商品の説明
Book Description
杉本博司の写真は時間と空間を止める。知覚の行為を遅らせて私たちの視覚の働きを明らかにすることは、彼の作品の明らかな要素となっている。杉本の最初の写真は、20年代と30年代に建てられた衰退した映画館だった。写真の露出時間を上映作品の長さに合わせることにより、ピュアな光そのものである、真っ白なスクリーンの輝きを浴びた劇場の内装を撮った。次に着手したのは陸から撮った『海景』の連作であり、これは今日もなお続いている。彼が世界中を旅した撮った海は、どんなに地理的条件が異なっていても、ぱっと見にはわずかな差異があるだけで同じように見える。しかしながらキャプションを見ると、カスピ海、リグリア海、黒海など、そのひとつひとつが異なる海であることがわかる。他のシリーズとしては、エンパイアステートビル、ル・コルビジェによるノートルダム・デュ・オー礼拝堂、安藤忠雄による光の教会(大阪)などを被写体に、記録するというよりはその建造物の本質を抽出したシリーズがある。
この本は以上のようなプロジェクトを含む、杉本博司の全作品をモノグラフ的に回顧するものだ。ほぼ未出版である近年のカラー作品としては、杉本のデザインによる完璧な均衡を誇る直島の護王神社や、『陰の色』と題されたシリーズが収録されている。二人の写真キュレーター、デヴィッド・エリオットとケリー・ブロワーが、杉本の作品を深く考察したエッセイをこの本のために執筆したほか、巻末には展示歴や文献一覧も収録されている。
デヴィッド・エリオット、ケリー・ブロワー、杉本博司によるエッセイを収録。
ハードカバー、25.4 x 27.9センチ/368ページ / カラー45ページ --このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
この本は以上のようなプロジェクトを含む、杉本博司の全作品をモノグラフ的に回顧するものだ。ほぼ未出版である近年のカラー作品としては、杉本のデザインによる完璧な均衡を誇る直島の護王神社や、『陰の色』と題されたシリーズが収録されている。二人の写真キュレーター、デヴィッド・エリオットとケリー・ブロワーが、杉本の作品を深く考察したエッセイをこの本のために執筆したほか、巻末には展示歴や文献一覧も収録されている。
デヴィッド・エリオット、ケリー・ブロワー、杉本博司によるエッセイを収録。
ハードカバー、25.4 x 27.9センチ/368ページ / カラー45ページ --このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
Book Description
Hiroshi Sugimoto's images freeze time and space, revealing the workings of our own vision, slowing down the act of perception long enough that it becomes a palpable component of his work. His earliest photographs were images of decadent movie palaces built in the 20s and 30s. By timing the exposure of his photos to the exact length of the film being screened, he produced images that depict theater interiors bathed in the magical glare of an all-white screen: pure light. Next Sugimoto began a body of work that he continues to this day, photographing views of the sea from land, traveling around the world to make pictures that, despite their vastly different geographic origins, seem at first to be the same, with only slight variations. Their captions, however, confirm that each is of a different body of water: Caspian, Ligurian, Black. Other series include his out-of-focus impressions of landmark architectural monuments, wherein the Empire State Building, Le Corbusier's Chapel de Notre Dame du Haut, and Tadao Ando's Church of Light in Osaka, among others, are essentialized rather than documented. This volume presents a monographic retrospective of Hiroshi Sugimoto's complete body of work, including the projects described above and others. New, mostly unpublished images from his recent color work are featured: impressions of the impeccably proportioned shrine Sugimoto designed in Naoshima Island in Japan, as well as a series entitled Colors of Shadow. Specially commissioned essays by photography curators David Elliot and Kerry Brougher examine Sugimoto's work in depth, while an exhibition history and bibliography round out the volume. Essays by David Elliott, Kerry Brougher and Hiroshi Sugimoto. Hardcover, 10 x 11 in./368 pgs / 45 color.
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
登録情報
|
この商品を見た後に買っているのは？
カスタマーレビュー
最も参考になったカスタマーレビュー
6 人中、6人の方が、｢このレビューが参考になった｣と投票しています。
形式:ハードカバー|Amazonが確認した購入
Sugimoto氏の写真集をまとめたような本で各種Sugimoto氏の写真集を購入するより、まず本写真集を購入してからそれでも１部づつ欲しいと思うならそれぞれを購入されたほうがよいかと思います。
Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
4件のカスタマーレビュー
18 人中、17人の方が、｢このレビューが参考になった｣と投票しています。
Sugimoto's Photography
2007/7/25
形式:ハードカバー
If you have never seen Sugimoto's work and you have an interest in conceptual art and photography, you are in for a treat. As he says, his work is all about time and what better way to show time than through a photograph. Beautifully produced, this book hints at the depth of the original large format images that can now be seen at a retrospective at San Francisco's de Young museum.
The book begins with his portraits in a wax museum and dioramas from New York's Museum of Natural History. All of his photographs are made with large format camera and the detail is exquisite. Conceptually, the camera gazes upon reproduction figures that are perhaps better than life itself, arranged like sculpture. The meaning of these objects (and places) becomes a recurring theme in his work that ultimately questions the medium itself. Real fiction.
The highlight of the book in my estimation are the minimalist sea landscapes that capture light and question time -- they are devoid of a decisive moment. These images are absolutely spellbinding in person and, for a book, the reproduction is very good.
The weakest part are photographs made by Sugimoto of blurred buildings, which take on a toy like scale, again questioning the reality of the original object. The selection of which building is clearly important, but the execution just isn't as exciting or masterful as the other work in this book. This is a very difficult area and very few photographers have pulled it off (try David Armstrong: All Day Every Day also available at Amazon)
Conceptually, the mathematical models, created in the late 1800's and early 1900's are fascinating. The ultra-resolution of the view camera shows the human hand in creation, where slight imperfections cast shadows of scratches made by the makers, as well as students and teachers. The poetry of pure math meets visual realism.
The finale are the photographs of movie theaters, each image exposed for the duration of the movie. The screen is a brilliant white (hinting at the experience of light from a movie), pouring out into the architecture of the theater or the surroundings of the drive-in landscaping. One of my favorites, from Union City, California, shows traces of light in the sky from passing aircraft -- a Zen-like experience of the passing of time that hints at an ancient haiku about the traces left by geese on snow.
The book begins with his portraits in a wax museum and dioramas from New York's Museum of Natural History. All of his photographs are made with large format camera and the detail is exquisite. Conceptually, the camera gazes upon reproduction figures that are perhaps better than life itself, arranged like sculpture. The meaning of these objects (and places) becomes a recurring theme in his work that ultimately questions the medium itself. Real fiction.
The highlight of the book in my estimation are the minimalist sea landscapes that capture light and question time -- they are devoid of a decisive moment. These images are absolutely spellbinding in person and, for a book, the reproduction is very good.
The weakest part are photographs made by Sugimoto of blurred buildings, which take on a toy like scale, again questioning the reality of the original object. The selection of which building is clearly important, but the execution just isn't as exciting or masterful as the other work in this book. This is a very difficult area and very few photographers have pulled it off (try David Armstrong: All Day Every Day also available at Amazon)
Conceptually, the mathematical models, created in the late 1800's and early 1900's are fascinating. The ultra-resolution of the view camera shows the human hand in creation, where slight imperfections cast shadows of scratches made by the makers, as well as students and teachers. The poetry of pure math meets visual realism.
The finale are the photographs of movie theaters, each image exposed for the duration of the movie. The screen is a brilliant white (hinting at the experience of light from a movie), pouring out into the architecture of the theater or the surroundings of the drive-in landscaping. One of my favorites, from Union City, California, shows traces of light in the sky from passing aircraft -- a Zen-like experience of the passing of time that hints at an ancient haiku about the traces left by geese on snow.
23 人中、18人の方が、｢このレビューが参考になった｣と投票しています。
Large scale photographer's work shown in a tiny format
2008/1/7
形式:ハードカバー
I first saw this book at the de Young Museum in San Francisco during a major exhibition of Sugimoto's work there during the summer of 2007. I love photography and have been building up a library of photo books for years. Sugimoto is one of my favorite artists and I was really looking forward to having a book of his work (there are so few that have been published that are available).
I think the book is a really good survey of Sugimoto, but I have to say that I was extremely perplexed and disappointed by the decision of the publisher and the artist to publish the work in such a small format. If you've ever seen any of Sugimoto's prints, they are on the order of 4 feet by 5 feet and larger. Their size is important to the presence of the work and highlights the incredible detail that can be captured by a committed artist using very large format cameras. The prints reproduced in the book are just too small to be able to capture any of this impact.
This really drops the rating for me. if it had been twice or three times the dimensions as published it would have just been big enough.
I think the book is a really good survey of Sugimoto, but I have to say that I was extremely perplexed and disappointed by the decision of the publisher and the artist to publish the work in such a small format. If you've ever seen any of Sugimoto's prints, they are on the order of 4 feet by 5 feet and larger. Their size is important to the presence of the work and highlights the incredible detail that can be captured by a committed artist using very large format cameras. The prints reproduced in the book are just too small to be able to capture any of this impact.
This really drops the rating for me. if it had been twice or three times the dimensions as published it would have just been big enough.
4 人中、4人の方が、｢このレビューが参考になった｣と投票しています。
2nd Expanded Edition, 2010
2010/12/25
形式:ハードカバー
This is a fantastic book and make sure you get the expanded 2nd edition since it adds 32 extra pages of new work not included in the 1st edition published back in 2005. This makes the 2nd edition the most complete collection of Sugimoto's work available. The printing is top quality and the binding strong--this is a quality publication and highly recommended.
これらのレビューは参考になりましたか？
ご意見はクチコミでお聞かせください。
リストマニア
|
|
関連商品を探す
同じキーワードの商品を探す
フィードバック
- カタログ情報、または画像について報告
- 著者からのコメント
- 出版社からのコメント
|
