Download the high-res PDF 22mb - Leadapron
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LEADAPRON • 554 HUNTLEY DRIVE LOS ANGELES CA 90048 • 310 360 0554 • LEADAPRON.NET • BY APPOINTMENT ONLY<br />
Kishin Shinoyama A Fine Day Heibon-sha, Tokyo, 1975. First Edition. Hardbound black morocco-patterned<br />
boards. Quarto. Photographically illustrated<br />
throughout in black and white and color. Gray endpapers; covers<br />
stamped in gilt; original acetate dust-jacket with Japanese text.<br />
Very Fine condition with only <strong>the</strong> slightest wrinkling to <strong>the</strong> original<br />
vinyl dust jacket and very minimal shelf wear.<br />
Hiroshi Sugimoto Theaters<br />
First edition of this book of color photographs depicting notable<br />
events in Japan in 1974. A fascinating early book by Kishin<br />
Shinoyama, who has become one of Japan’s best-known commercial<br />
photographers. Shinoyama’s book consists of 23 photographic<br />
sequences of around 10 photographs each. They range<br />
from studio portraits of Japanese women to landscapes in which<br />
<strong>the</strong> wea<strong>the</strong>r featu<strong>res</strong> prominently, to images of such figu<strong>res</strong> as<br />
Richard Nixon. Though at times <strong>the</strong> sequences can be baffling,<br />
a great sense of <strong>the</strong> 1974 zeitgeist begins to form as <strong>the</strong> various<br />
moods coalesce and vacillate throughout <strong>the</strong> book, engaging<br />
and almost hypnotizing <strong>the</strong> reader with visual poetry.<br />
1000<br />
Sonnabend Sundell Editions, New York, 2000. First Edition.<br />
Squarish Quarto. Hard bound in glow in <strong>the</strong> dark boards with<br />
silver slipcase. Very rare in As New condition.<br />
From <strong>the</strong> publisher: “This book is <strong>the</strong> first-ever [major] collection<br />
of Hiroshi Sugimoto’s ‘Theater’ photographs. To create each<br />
image, Sugimoto would take a long-exposure photograph of a<br />
cinema screen for <strong>the</strong> entire duration of a movie, <strong>res</strong>ulting in a<br />
blank white screen. ‘Different movies give different brightnesses,’<br />
he said. ‘If it’s an optimistic story, I usually end up with a<br />
bright screen; if it’s a sad story, it’s a dark screen. Occult movie?<br />
Very dark.’ The project was partly <strong>the</strong> <strong>res</strong>ult of wanting to make<br />
a simple form visible: ‘The simplest forms have authority, like a<br />
blank white light. And how do you photograph that? You need a<br />
framework to make it visible. But this is not simply white light; it is<br />
<strong>the</strong> <strong>res</strong>ult of too much information.’”<br />
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