Hiroshi Sugimoto: B.C.
Fraenkel Gallery is pleased to present Hiroshi Sugimoto B.C., an exhibition of photographs from the dawn of time. Through more than twenty works spanning the artist鈥檚 career, Hiroshi Sugimoto B.C. uses scientific, mythological and conceptual frameworks to explore the pre-photographic past. The exhibition also includes fossils from Sugimoto鈥檚 personal collection, about which Sugimoto writes, 鈥淚f a photograph is able to stop time, then a fossil can do the same thing. Both photographs and fossils are records of history.鈥�
On view from March 8 鈥� April 25, 2018, Hiroshi Sugimoto B.C. includes work from the artist鈥檚 earliest series Dioramas, depicting scenes of ancient sea life and primitive humanoids, and from Seascapes, with calm horizons 鈥渓ittle changed visually from the sea of millions of years ago, when humans first gained self颅鈥恆wareness.鈥� Sugimoto considers his seascapes places where, in a distant era, 鈥渓iving phenomena spontaneously generated from water and air in the presence of light.鈥�
A long-颅exposure photograph of a single burning candle from the series In Praise of Shadows alludes to the role of fire in 鈥渉umankind鈥檚 ascendancy over other species,鈥� while images from the series Lightning Fields record marks emitted by primordial electrical charges on photographic paper. Also included are works from Sea of Buddha, in which sculptures in a 13th century shrine stare back at the viewer as they did more than 800 years ago, and views of ancient landscapes such as Japan鈥檚 prehistoric Kegon Waterfall shrouded in mist, and Newspaper Rock in the American southwest, covered in petroglyphs made by Native Americans more than 2,000 years ago.
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Fraenkel Gallery is pleased to present Hiroshi Sugimoto B.C., an exhibition of photographs from the dawn of time. Through more than twenty works spanning the artist鈥檚 career, Hiroshi Sugimoto B.C. uses scientific, mythological and conceptual frameworks to explore the pre-photographic past. The exhibition also includes fossils from Sugimoto鈥檚 personal collection, about which Sugimoto writes, 鈥淚f a photograph is able to stop time, then a fossil can do the same thing. Both photographs and fossils are records of history.鈥�
On view from March 8 鈥� April 25, 2018, Hiroshi Sugimoto B.C. includes work from the artist鈥檚 earliest series Dioramas, depicting scenes of ancient sea life and primitive humanoids, and from Seascapes, with calm horizons 鈥渓ittle changed visually from the sea of millions of years ago, when humans first gained self颅鈥恆wareness.鈥� Sugimoto considers his seascapes places where, in a distant era, 鈥渓iving phenomena spontaneously generated from water and air in the presence of light.鈥�
A long-颅exposure photograph of a single burning candle from the series In Praise of Shadows alludes to the role of fire in 鈥渉umankind鈥檚 ascendancy over other species,鈥� while images from the series Lightning Fields record marks emitted by primordial electrical charges on photographic paper. Also included are works from Sea of Buddha, in which sculptures in a 13th century shrine stare back at the viewer as they did more than 800 years ago, and views of ancient landscapes such as Japan鈥檚 prehistoric Kegon Waterfall shrouded in mist, and Newspaper Rock in the American southwest, covered in petroglyphs made by Native Americans more than 2,000 years ago.
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