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Hiroshi Sugimoto. Empire State Building, Shreve Lamb & Harmon , 1997 Gelatin-silver print 58 x 47 inches Source: http://www.pbs.org/art21/slideshow/popup.php?slide=779.

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Empire State Building, Shreve Lamb & Harmon, 1997

Gelatin-silver print58 x 47 inches

Source: http://www.pbs.org/art21/slideshow/popup.php?slide=779


E.U.R. Palazzo Della Civiltà Romana, Marcello Piacentini, 1998Gelatin-silver print47 x 58 3/4 inchesSource: http://www.pbs.org/art21/slideshow/popup.php?slide=760


Casa Batllo, Antoni Gaudi, 1998Gelatin-silver print47 x 58 inchesSource: http://www.pbs.org/art21/slideshow/popup.php?slide=780


"I am a very craft-oriented person. But at the same time, I want to make something artistic and conceptual. In general, you know, the post-modern artist never paid attention to craftsmanship. That’s something like a nineteenth-century cliché. But to me, I’m going the other way around. I really respect my craftsmanship and my hands. So even though I’ve lived in this post-modern time, I probably call myself a post-modern-experienced pre-post-modern modernist!"

- Hiroshi Sugimoto


Villa Savoye, Le Corbusier, 199847 x 58 inchesSource: http://www.pbs.org/art21/slideshow/?slide=782&artindex=100FirefoxHTML\Shell\Open\Command


Eiffel Tower, 2000-2001Photographie noir-blanc 50.8 x 60.96 cm

Source: http://www.edwardmitterrand.com/artists/Sugimoto/pages/6.html


Fujisawa Municipal Gymnasium-Fumihiko Maki, 1997-2001Photographie noir-blanc 50.8 x 60.96 cm

Source: http://www.edwardmitterrand.com/artists/Sugimoto/images/sugimoto_architecture_FugisawaGymnasium_72dpi_20cm.JPG


World Trade Center, 1997

Source: http://web.ncf.ca/ek867/sugimoto.wtc.jpg


"I developed my own style of printing. I tested many different methods- Walker Evans’s method, Ansel Adams’s method. They used different kinds of formulas and chemicals. I spent quite a lot of time studying chemicals and how to develop large-format negatives. I also developed a sense to adjust the negatives."

- Hiroshi Sugimoto


Galvez House Luis Barragan, 2002

Black and white photograph

24 x 20 ins.

Source: http://www.coskunfineart.com/details.asp?workID=158


Barragan House

Source: http://img157.imageshack.us/img157/6365/barrangangm7.jpg


Chapel of Notre Dame du Haut, Le Corbusier, 1998

Source: http://bp3.blogger.com/_VO1xUIlV3Bw/RhMiJwPT2nI/AAAAAAAAAHU/6f1Ke-2eKv8/s1600-h/Sugimoto1.jpg


Church of Light. Tadao Ando, 1997

Source: http://bp1.blogger.com/_VO1xUIlV3Bw/RhMi1QPT2oI/AAAAAAAAAHc/NuL6XfL5P5I/s1600-h/Sugimoto2.jpg


"What kind of gray tone creates these nice gray tones? And what level of grayness makes black tones, not losing the medium tones, but extremely deep black? And then, highlights should be interesting but never washed out. There’s no pure white; there are always some tones there. Even in the deepest shadow, there’s a tone which is possible to print on the silver surface, but not in a catalogue."

- Hiroshi Sugimoto


Rietveld Schroder House

51 x 61 cm

Source: http://www.artfacts.net/exhibpics/17327.jpg


Guggenheim Museum New York

Source: http://bp3.blogger.com/_023w4hdG0iI/Rc9xo1U_d8I/AAAAAAAAAz4/sNRjvGm7Rok/s1600-h/02japan2.jpg


Source: http://www.3ayak.org/imaj/schizophrenia13/artwork-images-423989893-168663-hiroshi-sugimoto.jpg


Joe, Richard Serra

Source: http://www.brianrose.com/journal/sugimoto.jpg


"This is about studying the silver reactions- and the colors of the metal as silver, and the surface of ink tones. The colors of the metal...silver metal, silver colors. That makes the tones of the images so rich. I’m a great fan of this process and the colors of silver- how to make as fine tones as possible, as a silver-print maker."

- Hiroshi Sugimoto


Kapelle Sogn Benedetg, Peter Zumthor

Source: http://www.mitterrand-cramer.com/Artists/PhotoAndArchi/images/Sugimoto_architecture_stbenedikt_72dpi_20cm.jpg


Seagram Building,

Mies van der Rohe

Source: http://images.artnet.de/images_DE/magazine/reviews/aichinger/aichinger07-16-07-8s.jpg



Last edited: January 20, 2009