Hiroshi Sugimoto: Photogenic Drawing

In this series, Hiroshi Sugimoto investigates the scientific origins of photography. In 1834, William Henry Fox Talbot produced some of the very first photograms on sensitized paper, setting a variety of botanical specimens directly on the paper’s surface and exposing the paper to sunlight. These experiments eventually yielded rudimentary paper negatives made from a camera obscura. Talbot, however, never created positive prints from many of his negatives. Alongside many prominent museums, Sugimoto is also a collector of Talbot’s early negatives, and by making photographs of these fragile, delicate objects, Sugimoto aims to at last share these very early images with the world.

Color photograph of a yellow toned bridge above a lake framed in an aluminum frame

Color photograph of a sepia toned leaves with a black background in an aluminum frame

Color photograph of sepia toned leaves and flowers against a black background in an aluminum frame

Color photograph of a grey toned sculpture with three figures wrapped around a snake with a black background in an aluminum frame

Color photograph of a blue toned leaves and flowers with a black background in an aluminum frame

Color photograph of sepia toned portrait of a formal dressed figure with a black background in an aluminum frame

Color photograph of sepia toned leaves of asparagus on a black background in an aluminum frame

Color photograph of green toned florals on a black background in an aluminum frame

Color photograph of blue toned building by a black background in an aluminum frame

Color photograph of sepia toned Rosemary surrounded by a black background in an aluminum frame

Hiroshi Sugimoto: Photogenic Drawing

Hiroshi SugimotoThe China Bridge over the River Avon at Lacock Abbey, April 3, 1840

2009

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoBuckler Fern (version I), March 6, 1839 or earlier

2008

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoArrangement of Botanical Specimens, 1839

2008

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoStatuette of the Laocoön, probably November 26, 1845

2009

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoStem of Leaves and Flowers, circa 1834-1839

2008

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoPortrait of Charles Porter, April 7, 1842

2009

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoLeaves of Asparagus, October 4, 1840

2008

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoAsplenium Halleri, Grande Chartreuse 1821 – Cardamine Pratensis, April 1839

2008

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

Hiroshi SugimotoRoofline of Lacock Abbey, circa 1835-1839

2008

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [123.8 x 105.4 cm], edition of 10

Hiroshi SugimotoBotanical Specimen, possibly Rosemary, circa 1835

2009

toned gelatin silver print, 48-7/8 x 41-1/2 inches (framed) [124.1 x 105.4 cm], edition of 10

A framed photograph of a black color field with blue, green and yellow gradients on the bottom

Hiroshi Sugimoto: Opticks

These images depict the color of light Sugimoto observed through a prism in his Tokyo studio. Using Polaroid film, the artist recorded sections of the rainbow spectrum projected into a darkened chamber, paying particular attention to the spaces and gaps between hues. The resulting works, each measuring approximately 5’ framed, are vivid, near-sculptural renderings of pure light.

A framed photograph of a bright yellow color field — Opticks 033, 2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

Framed color photograph of a gradient of black and red light. — Opticks 058, 2018

chromogenic print, 60 x 60 inches (framed) [152.4 x 152.4 cm], edition of 1

A framed photograph of a blue color field, bright blue in the center and dark blue at each corner — Opticks 067, 2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

A framed photograph of a bright green color field, with black in the top half. — Opticks 176, 2018

chromogenic print, 60 x 60 inches (framed) [119.4 x 119.4 cm], edition of 1

A framed photograph of a bright red color field — Opticks 076, 2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

Hiroshi SugimotoOpticks 053

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

Hiroshi SugimotoOpticks 033

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

Hiroshi SugimotoOpticks 058

2018

chromogenic print, 60 x 60 inches (framed) [152.4 x 152.4 cm], edition of 1

Hiroshi SugimotoOpticks 067

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

Hiroshi SugimotoOpticks 176

2018

chromogenic print, 60 x 60 inches (framed) [119.4 x 119.4 cm], edition of 1

Hiroshi SugimotoOpticks 076

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

Black-and-white photograph of an empty theater with a glowing white screen onstage

Hiroshi Sugimoto: Theaters

Perhaps his most iconic series, these long exposures of classic movie houses around the world are emblematic of Sugimoto’s time-eluding photography. “One afternoon I walked into a cheap cinema in the East Village with a large-format camera,” recounts Sugimoto. “As soon as the movie started, I fixed the shutter at a wide-open aperture. When the movie finished two hours later, I clicked the shutter closed. That evening I developed the film, and my vision exploded behind my eyes.”

Black-and-white photograph of an empty movie theater with an extra large glowing white screen — Hiroshi Sugimoto, Imax Tempozan, Osaka, 1998

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

A black and white photograph of a bright white screen at a drive-in, with trees behind it and a city in the distance — Hiroshi Sugimoto, Scottsdale Drive-In, Scottsdale, 1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Black and white photograph of theater interior lit by screen — Hiroshi Sugimoto, Grand Lake, Oakland, 1992

gelatin silver print, 20 x 24 inches (mount) [50.8 x 60.1 cm], edition of 25

A black and white photograph of a bright white movie screen at a drive-in theater at night, with bright star trails behind it — Hiroshi Sugimoto, Stadium Drive-In, Orange, 1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61 cm], edition of 25

A black and white photograph of an ornately decorated classic movie theater with a bright white screen — Hiroshi Sugimoto, Metropolitan Palace, Los Angeles, 1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

A black and white photograph of a movie theater with a bright white screen, with curtains on either side and at the top — Hiroshi Sugimoto, Royal, San Francisco, 1992

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

A black and white photograph of a movie theater with a bright white screen, and audience watching the film — Hiroshi Sugimoto, Plaza, New York, 1977

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Black-and-white photograph of a blank white outdoor movie screen against an American suburb — Hiroshi Sugimoto, Studio Drive-In, Culver City, 1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Black and white photograph of an empty theater with a blank white screen illuminating the space — Hiroshi Sugimoto, Stanford Theater, Stanford, 1992

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Black-and-white photograph of an empty theater with a glowing blank white screen — Hiroshi Sugimoto, Palais de Tokyo, 2013

gelatin-silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Black and white photograph of an empty drive-in with a blank white screen illuminating the space — Hiroshi Sugimoto, Los Altos Drive-In, Lakewood, Colorado, 1993

gelatin silver print, 20 x 25 inches (mount) [50.8 x 63.5 cm], edition of 25

Black and white photograph of an empty stage with a blank white screen illuminating the space — Hiroshi Sugimoto, Sogetsu Hall, Tokyo, 2017

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoCinema Odeon, Firenze

2013

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoImax Tempozan, Osaka

1998

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoCarpenter Center, Richmond

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoScottsdale Drive-In, Scottsdale

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoGrand Lake, Oakland

1992

gelatin silver print, 20 x 24 inches (mount) [50.8 x 60.1 cm], edition of 25

Hiroshi SugimotoStadium Drive-In, Orange

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61 cm], edition of 25

Hiroshi SugimotoMetropolitan Palace, Los Angeles

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoRoyal, San Francisco

1992

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoPlaza, New York

1977

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoStudio Drive-In, Culver City

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoStanford Theater, Stanford

1992

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoPalais de Tokyo

2013

gelatin-silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoLos Altos Drive-In, Lakewood, Colorado

1993

gelatin silver print, 20 x 25 inches (mount) [50.8 x 63.5 cm], edition of 25

Hiroshi SugimotoSogetsu Hall, Tokyo

2017

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoCinema Teatro Nuovo, San Gimignano

2014

gelatin silver print, 20 x 25 inches (mount) [50.8 x 61 cm], edition of 25

Hiroshi SugimotoU.A. Fox, New York

1976

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoAzusa Drive-In, Azusa

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoU.A. Belle Beau, New York

1977

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Hiroshi SugimotoRialto, Pasadena

1993

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61.0 cm], edition of 25

Black-and-white photograph of a calm seascape across the lower half with a light gray sky above

Hiroshi Sugimoto: Seascapes

For more than four decades, Hiroshi Sugimoto has been photographing seascapes around the world. “A sharp horizon line and a cloudless sky– here began my consciousness.” writes Sugimoto, “From there my thoughts race to the origins of human consciousness itself. The sea reminds me that within my blood remain traces of human evolution over hundreds of thousands of years.”