杉本博司Hiroshi Sugimoto摄影集 Architecture建筑
回顾照片延伸和重塑了媒介特有的时间、空间和光的概念，并在这个过程中改变了我们对历史、视觉感知和存在本身的把握。他为化石涂上了“摄影前的时间记录装置”，并称摄影为“从现在变成化石的过程
￥ 398 7.7折 ￥ 515 九五品
仅1件
作者Hiroshi Sugimoto
出版社Damiani
ISBN9788862086585
出版时间2019-10
印刷时间2019-10
印数1千册
装帧精装
纸张铜版纸
页数160页
字数1千字
定价515元
上书时间2020-08-06
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杉本浩史（生于1948年）于1997年开始拍摄一系列现代主义建筑的重要作品，意在“通过建筑追溯我们时代的开始”。杉本的作品标志之一就是他的作品对媒介的技术掌握。他专门用一台8 x 10英寸的摄像机拍摄照片，他的银色明胶版画以色调范围广、完全没有纹理、细节丰富和整体光学精度而闻名。然而，在拍摄建筑照片时，他却颠倒了他的一贯做法：“把我以前的大幅面相机的焦距推到两倍无穷大。。。我发现最高级的建筑能经受住模糊摄影的冲击。因此，我开始对建筑进行耐久性侵蚀测试，在此过程中，许多建筑都被彻底融化了。”
在这本书中，包括19幅之前未发表的图片，建筑现代主义的语言是从勒柯布西耶的别墅萨沃耶，米斯凡德罗的西格拉姆建筑和弗兰克盖里的古根海姆毕尔巴鄂的照片中提炼出来的。由于其模糊性和缺乏色彩，这些图像将建筑物剥离成其本质，我们可以想象的是建筑师对形式的第一次纯粹的视觉。建筑的细节和不完美是人类大规模合作事业的自然结果，而光和影却定义了这些建筑的形式。这些建筑照片延续了艺术家对时间和历史的长期研究。这些纪念人类创造力和工业时代力量的纪念碑是否像看上去一样永恒？
The latest in Damiani and MW Editions' Sugimoto project collects his majestic images of classic modernist buildings
In 1997, Hiroshi Sugimoto (born 1948) began a series of photographs of significant works of modernist architecture, intending “to trace the beginnings of our age via architecture.” One of the hallmarks of Sugimoto’s work is his technical mastery of the medium. He makes photographs exclusively with an 8 x 10" view camera, and his silver gelatin prints are renowned for their tonal range, total lack of grain, wealth of detail and overall optical precision. In making the Architecture photographs, however, he inverted his usual process: “Pushing out my old large-format camera’s focal length to twice-infinity ... I discovered that superlative architecture survives the onslaught of blurred photography. Thus I began erosion-testing architecture for durability, completely melting away many of the buildings in the process.”
In this volume, which includes 19 previously unpublished images, the language of architectural modernism is distilled in photographs of Le Corbusier’s Villa Savoye, Mies van der Rohe’s Seagram Building and Frank Gehry’s Guggenheim Bilbao. By virtue of their blurriness and lack of color, the images strip down buildings to their essence, what we might imagine was the architect’s first, pure vision of form. The details of construction and imperfections that are a natural result of a massive, collaborative human undertaking are absent, and instead light and shadow define the forms of these buildings. The Architecture photographs continue the artist’s longstanding investigations of the passage of time and history. Are these monuments to human ingenuity and the power of the industrial age as eternal as they seem?
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