eyestorm (27 results)

Condition: Good. Used book that is in clean, average condition without any missing pages.

Soft cover. Condition: Very Good. No Jacket. Some light wear to covers and spine, mainly edges and corners, internally in good condition, pages crisp and clear.

Hardcover. Condition: Near Fine. First Edition. Celebrate contemporary art. Decorative covers, no jacket. No inscriptions. A lovely, very clean copy. 95pp.

a limited edition book, 26 x 26 cm which contains names of the eyestorm artists whose work will be available through the division, embossed on white pages. Cloth, fine copy, with bookplate and press release announcing projecyt and book.

Hardcover. Condition: Very Good. First Edition; First Printing. This book is a compilation of b&w photographs taken by Japanese photographer, Hiroshi Sugimoto. Housed in a silver slipcase in good condition with light rubbing to all edges and a small chip to front. Boards are eggshell white and have the title in silver on spine. Book is in very good condition with light soiling on front cover near spine. Interior is clean and binding is tight. This book includes 96 photographs of old theaters mostly throughout the United States, with a few from Australia. Sugimoto is known for his attention to light and shadow, often using long exposures to create eerie scenes with unnatural lighting. He is also known for using the same 19th century box camera throughout his entire career. "The Theater of Illusion" written by Hans Belting serves as an introduction, analyzing Sugimoto's work both descriptively and philosophically. Image is cropped due to scanner bed size. ; 4to 11" - 13" tall; 224 pp.

Couverture rigide. Condition: Très bon. NY & London, offset n&b, relié, couverture rigide dans fourreau cartonné, 224 p. 30.48 x 27.94 cm.

Couverture rigide. Condition: Bon état. Edition originale. In-4 relié 31,2 cm sur 28,5. 223 pages. Bon état d'occasion. Introduction : The Theater of Illusion" by Hans Belting. First edition. 96 ph. b&w in-4°.

Hardcover. Condition: As New. 1st Edition. First edition, first and only printing. Hardbound. Photographs from the 'Theaters' series (including movie theaters and drive-in theaters) and a statement by Hiroshi Sugimoto. Essay by Professor Hans Belting. Designed by Takaaki Matsumoto and Larissa Nowicki of Matsumoto Incorporated, New York. Also includes an exhibition history, bibliography and index. 224 pp., with 96 quadtone plates. 12 x 11 inches. All images were scanned and separated using quadtone separation, by Robert J. Hennessey. All plate sections were beautifully printed using drytrap offset printing on Mohawk Superfine Smooth Eggshell 100lb paper, by Meridian Printing, Rhode Island. The cover was silk-screened with Day-Glo ink and then matte film laminated. The book was Smythsewn bound and is enclosed in a specially designed cardboard slipcase covered in silver paper. The design and reproductions are absolutely exquisite and it is one of the most beautiful photography books I have ever seen! This first trade edition was limited to 4000 hardbound copies. Out of print. Scarce. [Cited in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume I. (London and New York: Phaidon, 2004).]. As New in publisher's shrink-wrap (slit open for inspection). From the publisher: "This book is the first-ever [major] collection of Hiroshi Sugimoto's 'Theater' photographs. To create each image, Sugimoto would take a long-exposure photograph of a cinema screen for the entire duration of a movie, resulting in a blank white screen. 'Different movies give different brightnesses,' he said. 'If it's an optimistic story, I usually end up with a bright screen; if it's a sad story, it's a dark screen. Occult movie? Very dark.' The project was partly the result of wanting to make a simple form visible: 'The simplest forms have authority, like a blank white light. And how do you photograph that? You need a framework to make it visible. But this is not simply white light; it is the result of too much information.'".

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, first printing. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine (a faint 3-inch crease to the lower left corner of the rear cover and a stray linear abrasion on the rear cover, light wear to the extremities), in Near Fine dust jacket (damp stain at heel of spine, 1/8-inch puncture to spine, slight surface wear and foxing to the interior, mostly along the top edge, light wear to the extremities and some light soiling, mostly on the rear panel). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.".

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, first printing. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine (two very light 1/2 to 1-inch creases and a 1/2-inch linear indentation to the front cover (these imperfections are only visible in raking light), and a light bump to the lower left rear corner, not affecting pages), in Near Fine dust jacket (slight surface wear and slight toning or aging to the interior, mostly along the top edge; light wear to the extremities). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.".

Soft cover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. First edition, first printing. Signed "Sugimoto" in silver marker on the title page by Sugimoto. Soft cover. Pale taupe heavy wrappers with "Sugimoto" printed on cover and spine, with matching dust jacket. Photographs and introduction (in Japanese) by Hiroshi Sugimoto. Project Director, Kazuko Koike. Edited by Atsuko Koyanagi. Designed by Takaaki Matsumoto/M Plus M Incorporated, New York. Includes a brief biography, list of exhibitions, grants and collections. Unpaginated (100 pp.), with 43 black-and-white plates beautifully printed on heavy coated paper by Mitsumura Printing Co., Ltd., Japan. 10-1/8 x 13-1/4 inches. Published on the occasion of the 1988 exhibition "Hiroshi Sugimoto" at Sonnabend Gallery, New York, Sagacho Exhibit Space, Tokyo and Zeito Photo Salon, Tokyo. Near Fine in Near Fine dust jacket (faint creasing to lower right corner, affecting the dust jacket, wrappers and pages; light wear to top edge of jacket flaps; rear corners slightly blunted; light surface wear). Sugimoto's first monograph, this exhibition catalogue introduced readers to the three most significant bodies of work he has produced since the late-1970s. From the artist (on Dioramas): "Upon first arriving in New York in 1974, I did the tourist thing. Eventually I visited the Natural History Museum, where I made a curious discovery: the stuffed animals positioned before painted backdrops looked utterly fake, yet by taking a quick peek with one eye closed, all perspective vanished, and suddenly they looked very real. I'd found a way to see the world as a camera does. However fake the subject, once photographed, it's as good as real." On Theaters: "I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and-answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes." On Seascapes: "Water and air. So very commonplace are these substances, they hardly attract attention -- and yet they vouchsafe our very existence. The beginnings of life are shrouded in myth: Let there be water and air. Living phenomena spontaneously generated from water and air in the presence of light, though that could just as easily suggest random coincidence as a Deity. Let's just say that there happened to be a planet with water and air in our solar system, and moreover at precisely the right distance from the sun for the temperatures required to coax forth life. While hardly inconceivable that at least one such planet should exist in the vast reaches of universe, we search in vain for another similar example. Mystery of mysteries, water and air are right there before us in the sea. Every time I view the sea, I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing." Signed by Author.

Hardcover. Condition: New. 1st Edition. First edition, first printing. Limited edition of 30, this being #7/30, numbered and signed by Parr on the vellum-like cover page. Custom-designed cherry-pink silk-covered hand-made and hand-bound book with 20 mounted original color photographs, all of which feature fake cherry blossoms seen in situ in Japan's capital city. Book of original mounted color photographs is enclosed in a cherry-pink silk-covered Japanese-style hand-made four-sided hinged case (shiho chitsu, top cover and all four corners fold out when 'bone-like' clasps are removed). Four-sided hinged case size is 10-5/8 x 14-1/4 inches, book size is 10-1/2 x 13-7/8, matte size is 10 x 13-5/8 inches and print size is 7 x 10 inches. Out of print. Very scarce. New in publisher's packaging. This special edition book was exclusively produced for eyestorm. From the publisher: "'Cherry Blossom Time in Tokyo' is Martin Parr's personal view of the complex mixture of ancient and modern, authentic and artificial that is modern Japan. Only those flowers in the background of the first image are real: the successive images all feature fake blooms in locations that are progressively distanced from the natural world. Seen looped around shop displays of laptops, mobile phones, cameras and necklaces, these flowers soften, and are in striking contrast to, the bright, colorful world of commerce that is focused on in the photographs. displaying Martin Parr's sharp eye for absurdity and abundant humor." Signed by Author.

Condition: As New. 1st Edition. An original silver dye bleach print (dye destruction print, Ilfochrome, formerly Cibachrome) from an edition of 100, stamp-signed and numbered (this being #72/100) in black ink on verso by Derges. Image size is 30 x 10-5/8 inches; paper size is 31-5/8 x 12 inches. This edition was issued by the artist for eyestorm. A Certificate of Authenticity (from eyestorm, UK) will be provided with the print. As New. The print is in flawless condition in its original packaging. Signed by Author.

Printed Boards in Slipcase. Condition: As New. First Edition. 224pp, 95 illustrations in b&w. Designed by Takaaki Matsumoto. With a biography, exhibition history and bibliography. This is the elegant hardbound survey of Hiroshi Sugimoto's meditative images of films projected in empty movie theaters jointly published in 2000 by Sonnabend Sundell Editions and Eyestorm. A brand new, most handsome example in the publisher's silver paper-over-boards slipcase of the deluxe edition limited to one thousand copies accompanied by the lovely 17 1/8 x 21 1/8" photogravure print entitled "U.A. Walker, New York, 1978" NUMBERED AND SIGNED "H. Sugimoto" in pencil on the lower right margin in the publisher's piano-hinged, brushed aluminum case with limitation pastedown, as issued. With a Gravure Print Signed by the Photographer. Photography Monograph.