The individual visual narratives in Time Frames make up our collective human history.
At the Japan Society, Hiroshi Sugimoto: Gates of Paradise, legacies of inter-cultural encounter are seen through a lens of global understanding.
The question that Hiroshi Sugimoto asked himself in 1976 sounded a bit like a koan: What happens if you shoot a whole movie in a single frame?
It’s early enough in my career that I still get a thrill whenever I see my work shared online.
PARIS — Maybe someday a meteor will hit our fair planet, the solar system will enter an electromagnetic field, or the art market for Andy Warhols will collapse and trigger a domino line of economic downfall. However it goes, the world as we know it will someday end, and for Hiroshi Sugimoto there is nothing right now that is more inspiring.
Eternal time posits the existence of paradise, while infinite time does not. Henri Cartier-Bresson found human warmth in his photographs, which he thought as a “decisive moment” that entered into the eternal, whereas Hiroshi Sugimoto sees beauty and inspiration in the coldness of the universe. He recognizes that the earth is our home, but that we are not at home here.
Yesterday afternoon, I ventured out into the bordering on bad weather and braved the gray skies to bring you the latest on Chelsea this November. The gallery district is probably much as you remember it, with high-end galleries showing off their blue chip stables and smaller spaces skipping to keep up. Yet there are still pleasant surprises to be found in the warehouse-strewn streets, from lesser known painters that include (gasp!) a ceramicist to commercial shows that may as well be museum retrospectives. Continue below for the blow-by-blow of my blue-chip Chelsea trip.