杉本博司-人物-轻识

简介

杉本博司（Hiroshi Sugimoto，1948年出生2月23日-）日本著名摄影师、建筑师和艺术家，被誉为最后的现代主义者。1948年，杉本博司出生于东京下町的御徒町，从小接受西方油画的艺术教育，在美国留学毕业，经过学习研究，成为著名摄影师，艺术家。他的创作将东西方史学、哲学和美学带入摄影，极致了摄影意义，并将摄影作品提升至艺术品层次。除摄影创作，他还经手室内设计、能剧舞台、神社等建筑工作。他往往在摄影中加入自己的思考，时间、记忆、梦想以及历史是杉本博司摄影的主题。从《海景，Seascapes》，《剧院，Theaters》，《建筑，Architecture》，《画像，Portraits》，到《数学的形体：Mathematical Form》，杉本博司形成了自己独特的摄影风格，他的作品非常平静，黯淡的画面，毫无生气，给人一种冷冷的感觉，可是却使无数人驻足于他的作品之前。在他的作品中，海不再是海，建筑不是建筑，他的摄影更像是一种探寻。杉本博司也谈到“我拍摄的是物的历史，我的艺术的主题是时间”。

影视作品

海景：波罗的海，吕根岛附近

Display caption The experience of contemplating the sea transcends specific time and place in these near- abstract photographs . Although they seem almost Romantic in their evocation of landscape , Sugimoto has said: 'When I look at nature I see the artificiality behind it. Even though the seascape is the least changed part of nature, population and the resulting pollution have made nature into something artificial'.

酋长岩，好莱坞

In the interwar period elaborate and stylish movie theatres which simulate architectural styles of the past were built all over America. Sugimoto has taken photographs in several hundred of these, focusing on the screen and ornate proscenium. He exposes his film to the duration of the movie, so that what is seen on the screen in the resulting image is the imprint of the projection. Most frequently Sugimoto records the duration of Westerns as the predominance of outdoor scenes combine to produce the intensity of light captured in this image.

温尼提卡汽车电影院，派拉蒙

To achieve the glowing white screens that dominate these photographs of American drive-in cinemas, Sugimoto used extraordinarily long exposures lasting exactly the duration of the movie shown there. Captured in real time, the movie is reduced to a blank screen. This ‘presence through absence’ is a common theme in Sugimoto’s work. The light emanating from the screen illuminates the immediate surroundings against the night sky, in which the trajectories of passing aircraft are clearly visible.