“Ever since the age of cave painting,” Sugimoto writes, “humans have wanted a unified vision with which to see the chaos of this world of ours. Largely, it has been artists who have filled such a role — and they still hold this function today. No matter how brilliantly religion and science might explain and persuade, there will always remain shadowy areas. Scooping up shimmering particles, these persons of vision fashion decoding devices that afford us a look around in the gloom; we call their handiwork art.”
Hiroshi Sugimoto: History of History diverges from the Asian Art Museum’s usual fare. Curated by Sugimoto himself, History of History opens with a room filled with artfully displayed fossils — ammonites and other fossilized sea creatures hang on the wall, while three metal cases sit on black plinths. In each case, someone has carefully carved away the surrounding matrix, releasing the creature from its stone prison. Theatrically lit from above, the fossils seem to float, unsupported, in the gallery’s dark space.
The sea lily fossils on the wall are incomparably lovely, their fragile structures embedded in rich red Moroccan sandstone. Almost too perfect and stylized to be organic, the fossils create a complex pattern that rivals any Art Nouveau design.
This is not what one expects to find at a Sugimoto exhibition. Sugimoto, better known for his meticulously composed black-and-white photographs, headlines a double-bill at the Asian Art Museum — The History of History and Stylized Sculpture: Contemporary Japanese Fashion from the Kyoto Costume Institute. Both exhibitions detail Sugimoto’s obsession with form. The two exhibitions are markedly different in subject and scope, but together they take us deep into Sugimoto’s practice.
Stylized Sculpture showcases designs by five contemporary Japanese designers (Issey Miyake, Rei Kawakubo, Yohji Yamamoto, Junya Watanabe, and Tao Kurihara) who embody, for Sugimoto, a particularly “Japanese” aesthetic.