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Jürgen Habermas Interview

Uploaded on Feb 1, 2007

1970 bombing took away righteous standing of Anti-War movement

Francis Schaeffer mentioned the 1970 bombing in his film series “How should we then live?” and I wanted to give some more history on it. Schaeffer asserted:

In the United States the New Left also slowly ground down,losing favor because of the excesses of the bombings, especially in the bombing of the University of Wisconsin lab in 1970, where a graduate student was killed. This was not the last bomb that was or will be planted in the United States. Hard-core groups of radicals still remain and are active, and could become more active, but the violence which the New Left produced as its natural heritage (as it also had in Europe) caused the majority of young people in the United States no longer to see it as a hope. So some young people began in 1964 to challenge the false values of personal peace and affluence, and we must admire them for this. Humanism, man beginning only from himself, had destroyed the old basis of values, and could find no way to generate with certainty any new values.  In the resulting vacuum the impoverished values of personal peace and affluence had comes to stand supreme. And now, for the majority of the young people, after the passing of the false hopes of drugs as an ideology and the fading of the New Left, what remained? Only apathy was left. In the United States by the beginning of the seventies, apathy was almost complete. In contrast to the political activists of the sixties, not many of the young even went to the polls to vote, even though the national voting age was lowered to eighteen. Hope was gone.

After the turmoil of the sixties, many people thought that it was so much the better when the universities quieted down in the early seventies. I could have wept. The young people had been right in their analysis, though wrong in their solutions. How much worse when many gave up hope and simply accepted the same values as their parents–personal peace and affluence. (How Should We Then Live, pp. 209-210

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Aug. 24 marked the 41st anniversary of the Sterling Hall bombing on the University of Wisconsin-Madison campus.

Four men planned the bomb at the height of the student protests over the Vietnam War. Back then, current Madison Mayor Paul Soglin was one of the leaders of those student protests in the capitol city. This weekend, Soglin recalled the unrest felt by UW-Madison students.

“The anti-war movement adopted a lot of its tactics and strategies from the civil rights movement which was about ten years older,” said Soglin. “It was one of picketing, demonstration, and passive resistance.”

The four men who planned the bombing focused on the Army Mathematics Research Center housed in Sterling Hall because it was funded by the U.S. Department of Defense and therefore, worked on weapons technology. Karl Armstrong was one of the four men and he recently spoke with CBS News in his first television interview detailing the moments right before the bomb was set off.

“He asked me, he says, ‘Should we go ahead? Are we gonna do this?’ I think I made a comment to him about something like, ‘Now, I know what war is about,'” remembered Armstrong. “And I told him to light it.”

The bomb killed one researcher and father of three, 33-year-old Robert Fassnacht, although Armstrong maintains they planned the attack thinking no one would get hurt. The four men heard about the death as they were in their getaway car after the bomb went off.

“I felt good about doing the bombing, the bombing per se, but not taking someone’s life,” recalled Armstrong.

The researcher’s wife told CBS News that she harbors no ill will toward Armstrong and the other bombers. Three of the four men were captured and served time in prison. Armstrong served eight years of a 23-year sentence.

The fourth man, Leo Burt, was last seen in the fall of 1970 in Ontario and is to this day, still wanted by the FBI, with a $150,000 reward for his capture.

E P I S O D E 9

T h e Age of Personal Peace and Affluence 

I. By the Early 1960s People Were Bombarded From Every Side by Modern Man’s Humanistic Thought

II. Modern Form of Humanistic Thought Leads to Pessimism

Regarding a Meaning for Life and for Fixed Values

A. General acceptance of selfish values (personal peace and affluence) accompanied rejection of Christian consensus.

1. Personal peace means: I want to be left alone, and I don’t care what happens to the man across the street or across the world. I want my own life-style to be undisturbed regardless of what it will mean — even to my own children and grandchildren.

2. Affluence means things, things, things, always more things — and success is seen as an abundance of things.

B. Students wish to escape meaninglessness of much of adult society.

1. Watershed was Berkeley in 1964.

2. Drug Taking as an ideology: “turning on” the world.

3. Free Speech Movement on Sproul Plaza.

a) At first neither Left nor Right.

b) Soon became the New Left.

(1) Followed Marcuse and Habermas.

(2) Paris riots.

4. Student analysis of problem was right, but solution wrong.

5. Woodstock, Altamont, and the end of innocence.

6. Drug taking survives the death of ideology but as an escape.

7. Demise of New Left: radical bombings.

8. Apathy supreme. The young accept values of the older generation: their own idea of personal peace and affluence, even though adopting a different life-style.

C. Marxism and Maoism as pseudo-ideals.

1. Vogue for idealistic communism which is another form of leap into the area of non-reason.

2. Solzhenitsyn: violence and expediency as norms of communism.

3. Communist repression in Hungary and Czechoslovakia.

4. Communism has neither philosophic nor historic base for freedom. There is no base for “Communism with a human face.”

5. Utopian Marxism steals its talk of human dignity from Christianity.

6. But when it comes to power, the desire of majority has no meaning.

7. Two streams of communism.

a) Those who hold it as an idealistic leap.

b) Old-line communists who hold orthodox communist ideology and bureaucratic structure as it exists in Russia.

8. Many in West might accept communism if it seemed to give peace and affluence.

III. Legal and Political Results of Attempted Human Autonomy

A. Relativistic law.

1. Base for nonarbitrary law gone; only inertia allows a few principles to survive.

2. Holmes and sociological (variable) law.

3. Sociological law comes from failure of natural law (see evolution of existential from rationalistic theology).

4. Courts are now generating law.

5. Medical, legal, and historical arbitrariness of Supreme Court ruling on abortion and current abortion practice.

B. Sociological law opens door to racism, abrogation of freedoms,  euthanasia, and so on.

IV. Social Alternatives After Death of Christian Consensus

A. Hedonism? But might is right when pleasures conflict.

B. Without external absolute, majority vote is absolute. But this justifies a Hitler.

V. Conclusion

A. If there is no absolute by which to judge society, then society is absolute.

B. Humanist thinking—making the individual and mankind the center of all things (autonomous) — has led to death in our culture and in our political life.

Note: Social alternatives after the death of Christian consensus are continued in Episode Ten.

Questions

1. What was the basic cause of campus unrest in the sixties? What has happened to the campus scene since, and why?

2. What elements — in the life and thought of the communist and noncommunist world alike — suggest a possible base for world agreement?

3. “To prophesy doom about Western society is premature. We are, like all others who have lived in times of great change, too close to the details to see the broader picture. One thing we do know:

Society has always gone on, and the most wonderful epochs have followed the greatest depressions. To suggest that our day is the exception says more about our headache than it does about our head.” Debate.

4. As Dr. Schaeffer shows, many apparently isolated events and options gain new meaning when seen in the context of the whole. How far does your own involvement in business, law, financing, and so on reveal an acquiescence to current values?

Key Events and Persons

Oliver Wendell Holmes: 1841-1935

Herbert Marcuse: 1898-1979

Jurgen Habermas 1929-

Alexander Solzhenitsyn: 1917-

Hungarian Revolution: 1956

Free Speech Movement: 1964

Czechoslovakian repression: 1968

Woodstock and Altamont: 1969

Radical bombings: 1970

Supreme Court abortion ruling: 1973

Solzhenitsyn’s The Gulag Archipelago: 1973-74

Further Study

Keeping one’s eyes and ears open is the most useful study project: the prevalence of pornographic films and books, more and more suggestive advertising and TV shows, and signs of arbitrary absolutes.

The following books will repay careful reading, and Solzhenitsyn, though long and horrifying, should not be skipped.

Os Guinness, The Dust of Death (1973).

Alexander Solzhenitsyn, The Gulag Archipelago: Parts I-II (1973), Parts III-IV (1974).

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Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

Distinguished guest lecture by Jürgen Habermas at KU Leuven

Published on Apr 27, 2013

What Happens when a Leftist Philosopher Discovers God? by Peter Berger

Jürgen Habermas

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Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” , episode 9 “The Age of Personal Peace and Affluence”, episode 8 “The Age of Fragmentation”, episode 7 “The Age of Non-Reason” , episode 6 “The Scientific Age” , episode 5 “The Revolutionary Age” ,  episode 4 “The Reformation”,  episode 3 “The Renaissance”, episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaeffer—who always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people’s worldviews affect their lives!

J.I.PACKER WROTE OF SCHAEFFER, “His communicative style was not that of a cautious academic who labors for exhaustive coverage and dispassionate objectivity. It was rather that of an impassioned thinker who paints his vision of eternal truth in bold strokes and stark contrasts.Yet it is a fact that MANY YOUNG THINKERS AND ARTISTS…HAVE FOUND SCHAEFFER’S ANALYSES A LIFELINE TO SANITY WITHOUT WHICH THEY COULD NOT HAVE GONE ON LIVING.”

Francis Schaeffer’s works  are the basis for a large portion of my blog posts and they have stood the test of time. In fact, many people would say that many of the things he wrote in the 1960’s  were right on  in the sense he saw where our western society was heading and he knew that abortion, infanticide and youth enthansia were  moral boundaries we would be crossing  in the coming decades because of humanism and these are the discussions we are having now!)

There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACE? There is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.

Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.” 

Many modern artists are left in this point of desperation that Schaeffer points out and it reminds me of the despair that Solomon speaks of in Ecclesiastes.  Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.” THIS IS EXACT POINT SCHAEFFER SAYS SECULAR ARTISTS ARE PAINTING FROM TODAY BECAUSE THEY BELIEVED ARE A RESULT OF MINDLESS CHANCE.

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Featured artist: Hiroshi Sugimoto: Becoming an Artist | Art21 “Exclusive”

Uploaded on Apr 29, 2011

Episode #141: Filmed in his New York studio, artist Hiroshi Sugimoto recounts his student days studying Western philosophy (Hegel, Kant, Marx) in Tokyo, encountering Oriental philosophy (such as Zen Buddhism) in California, and his interest in the history of Modernism—all schools of thought that demonstrate “the human ability to see things in a different way.”

Central to Hiroshi Sugimoto’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time. Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He creates images that seem to convey his subjects’ essence, whether architectural, sculptural, painterly, or of the natural world.

Learn more about Hiroshi Sugimoto at: http://www.art21.org/artists/hiroshi-…

CREDITS | Producer: Wesley Miller & Nick Ravich. Interview: Susan Sollins. Camera: Mead Hunt. Sound: Merce Williams. Editor: Mary Ann Toman. Artwork Courtesy: Hiroshi Sugimoto. Video: © 2011, Art21, Inc. All rights reserved

Hiroshi Sugimoto, Richard Tuttle, Fred Wilson, and Krzysztof Wodiczko.

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From his website:

Stylized Sculpture The history of clothing is as old as that of humanity itself. From the time human consciousness first awakened from animal nature, we humans have wrapped our bareness in clothing, very much the way Adam and Eve did with fig leaves. The first human clothes were animal pelts, a sign of supremacy over other animals by virtue of our superior physical skills and intelligence. Humans used weapons and tools to kill animals, skin their hides, and eat their meat. Fur served to help humans conserve body heat and survive the ice ages, but conversely led to the devolution of body hair. The ability to maintain a constant body temperature, whatever the climate, is thought to have contributed to making human estrus, or sexual “heat,” constant as well, this permanent mating season greatly strengthening the human capacity to propagate. Likewise, clothing came to conceal our genitalia while enhancing physical measures of attraction, enabling us to consciously control our reproductive activities. These added, interrelated dimensions of clothed body expression must have played a major role in the socializing process and the rise of civilization. By the age of the earliest civilizations, humans had gained the knowledge of how to weave and dye plant fibers, and as primitive communal society stratified into classes, clothing came to symbolize rank and status. Figures of authority in particular made extra display of their power and wealth by means of special clothing and adornment. In India, China, Korea, Japan, and elsewhere in Asia―as in Mesopotamia, Egypt, Greece, and Rome―ancient civilizations each developed a unique culture of attire. In the early fifteenth century, Europe entered the age of seafaring and exploration, while scientific advancements led to an ever more logical mindset and with it a rational worldview of a spherical planet―which grew “smaller” with every new discovery. Thereafter, European imperialist expansion encompassed almost the entire world, this overwhelming rule establishing a primacy of Eurocentric standards of dress that became synonymous with modernization. Gender awareness again came to the fore in the 1920s―after World War I―and the progressive emancipation and elevation of women earned fashion an important place in modern life, thanks especially to the pioneering efforts of Madeleine Vionnet and Gabrielle “Coco” Chanel. The Dada, surrealist, and futurist avant-garde art movements further influenced fashion, and this fusion of fashion and art has continued into the present day. Stylized Sculpture looks at the post-Vionnet history of fashion with a view toward the human body clothed in “artificial skin” as modern sculpture. – Hiroshi Sugimoto

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From PBS:

About Hiroshi Sugimoto

Hiroshi Sugimoto was born in Tokyo, Japan, in 1948, and lives and works in New York and Tokyo. His interest in art began early. His reading of André Breton’s writings led to his discovery of Surrealism and Dada and a lifelong connection to the work and philosophy of Marcel Duchamp. Central to Sugimoto’s work is the idea that photography is a time machine, a method of preserving and picturing memory and time. This theme provides the defining principle of his ongoing series, including “Dioramas” (1976–), “Theaters” (1978–), and “Seascapes” (1980–). Sugimoto sees with the eye of the sculptor, painter, architect, and philosopher. He uses his camera in a myriad of ways to create images that seem to convey his subjects’ essence, whether architectural, sculptural, painterly, or of the natural world. He places extraordinary value on craftsmanship, printing his photographs with meticulous attention and a keen understanding of the nuances of the silver print and its potential for tonal richness—in his seemingly infinite palette of blacks, whites, and grays. Recent projects include an architectural commission at Naoshima Contemporary Art Center in Japan, for which Sugimoto designed and built a Shinto shrine, and the photographic series, “Conceptual Forms,” inspired by Duchamp’s “Large Glass: The Bride Stripped Bare by her Bachelors, Even.” Sugimoto has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts; in 2001, he received Hasselblad Foundation International Award in Photography. He has had one-person exhibitions at the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; Contemporary Arts Museum, Houston; Museum of Contemporary Art, Chicago; and Hara Museum of Contemporary Art, Tokyo; among others. Hirshhorn Museum and Sculpture Garden, Washington, DC, and Mori Art Museum, Tokyo, were joint organizers of a 2005 Sugimoto retrospective.

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Hiroshi Sugimoto

This article may be expanded with text translated from the corresponding article in the Japanese Wikipedia. (April 2012) Click [show] on the right to read important instructions before translating.[show]

Hiroshi Sugimoto (杉本博司, Sugimoto Hiroshi), born on February 23, 1948, is a Japanese photographer currently dividing his time between Tokyo, Japan and New York City, United States. His catalogue is made up of a number of series, each having a distinct theme and similar attributes.

Early life and education

Hiroshi Sugimoto was born and raised in Tokyo, Japan. In 1970, Sugimoto studied politics and sociology at Rikkyō University in Tokyo. In 1974, he retrained as an artist and received his BFA in Fine Arts at the Art Center College of Design, Los Angeles, California. Afterwards, Sugimoto settled in New York City.

Work

Sugimoto has spoken of his work as an expression of ‘time exposed’, or photographs serving as a time capsule for a series of events in time. His work also focuses on transience of life, and the conflict between life and death.

Sugimoto is also deeply influenced by the writings and works of Marcel Duchamp, as well as the Dadaist and Surrealist movements as a whole. He has also expressed a great deal of interest in late 20th century modern architecture.

His use of an 8×10 large-format camera and extremely long exposures has garnered Sugimoto a reputation as a photographer of the highest technical ability. He is equally acclaimed for the conceptual and philosophical aspects of his work.^{[citation needed]}

Dioramas and Portraits

Sugimoto began his work with Dioramas in 1976, a series in which he photographed displays in natural history museums. (A polar bear on a fake ice floe contemplates his fresh-killed seal; vultures fight over carrion in front of painted skies; exotic monkeys hoot in a plastic jungle.)^[1] Initially the pictures were shot at the American Museum of Natural History, a place he returned for later dioramas in 1982, 1994, and 2012.^[2] The cultural assumption that cameras always show us reality tricks many viewers into assuming the animals in the photos are real until they examine the pictures carefully. His series Portraits, begun in 1999, is based on a similar idea. In that series, Sugimoto photographs wax figures of Henry VIII and his wives. These wax figures are based on portraits from the 16th century and when taking the picture Sugimoto attempts to recreate the lighting that would have been used by the painter. Focusing on Madame Tussaud’s in London, its branch in Amsterdam and a wax museum in Ito, Japan, Sugimoto took three-quarter view photos, using 8-by-10-inch negatives, of the most realistic wax figures. They are typically taken against a black background.^[3]

Theatres

In 1978, Sugimoto’s Theatres series involved photographing old American movie palaces and drive-ins with a folding 4×5 camera and tripod, opening his camera shutter and exposing the film for the duration of the entire feature-length movie, the film projector providing the sole lighting.^[4] The luminescent screen in the centre of the composition, the architectural details and the seats of the theatre are the only subjects that register owing to the long exposure of each photograph, while the unique lighting gives the works a surreal look, as a part of Sugimoto’s attempt to reveal time in photography.

Seascapes

In 1980 he began working on an ongoing series of photographs of the sea and its horizon, Seascapes, in locations all over the world, using an old-fashioned large-format camera to make exposures of varying duration (up to three hours).^[5][6] The locations range from the English Channel and the Cliffs of Moher ^[7] to the Arctic Ocean, from Positano, Italy, to the Tasman Sea and from the Norwegian Sea at Vesterålen to the Black Sea at Ozuluce in Turkey. The black-and-white pictures are all exactly the same size, bifurcated exactly in half by the horizon line.^[8] The systematic nature of Sugimoto’s project recalls the work Sunrise and Sunset at Praiano by Sol LeWitt, in which he photographed sunrises and sunsets over the Tyrrhenian Sea off Praiano, Italy, on the Amalfi Coast.^[9]

Architecture works

In 1995, Sugimoto photographed the Sanjūsangen-dō (“Hall of Thirty-Three Bays”) in Kyoto. In special preparation for the shoot, he had all late-medieval and early-modern embellishments removed, as well as having the contemporary fluorescent lighting turned off.^[10] Shot from a high vantage point^[1] and editing out all architectural features, the resulting 48 photographs^[1] concentrate on the bodhisattvas, 1,000 life-size and almost identical gilded figures carved from wood in the 12th and 13th centuries, that are banked up inside the building.^[11]

In 1997, on a commission from the Museum of Contemporary Art in Chicago, Sugimoto began producing series of large-format photographs of notable buildings around the world. In 2003, the museum showed the series in a sepulchral installation, with the pictures installed on layered rows of dark-painted partitions.^[12] Sugimoto’s later Architecture series (2000–03) consists of blurred images of well-known examples of Modernist architecture.^[13]

In 2001, Sugimoto traveled the length of Japan, visiting the so-called meisho “famous sites” for pines: Miho no Matsubara, Matsushima, Amanohashidate.^[14] On the royal palace grounds in Tokyo, Sugimoto photographed a pine landscape, copying a traditional 16th-century Japanese ink-painting style.^[15] Listed as Japanese national treasures, the Shorinzu-byobu (Pine Forest Screens) (ca. 1590) by Momoyama period (1568 1600) painter Hasegawa Tōhaku (1539–1610) represent a coming of age in Japanese imaging.

Joe

In July 2003 Sugimoto travelled to St. Louis to photograph the Pulitzer Foundation for the Arts, designed by Tadao Ando whose work he had portrayed various times before. However, his ended up photographing Richard Serra’s sculpture Joe (the first in his “Torqued Spiral” series), which rests in an outdoor courtyard, at dawn and at dusk for five days.^[16] The resulting Joe series was made with short exposure. The blurring effect results from Sugimoto’s unconventional use of the flexibility of the large format camera, whereby he sets the distance between the lens and the film to twice the focal length, in his words “twice-infinity”.^[17] Sugimoto gave the photographs serial numbers from his Architecture series. Significantly, the hand-developed gelatin-silver photographs are mounted on aluminum panels but are otherwise unframed, unglazed and unlaminated to draw attention to what Sugimoto describes as the “transformation from the three-dimensional steel source sculpture to the thin layers of what I would call my ‘silver sculpture’.”^[18] When the Pulitzer Foundation decided to publish a book about the series, Sugimoto asked Jonathan Safran Foer, whom he had met years earlier, to write a text to accompany the nineteen selected photographs.^[16]

A 2004 series comprises large photographs of antique mathematical and mechanical models, which Sugimoto came across in Tokyo and shot from slightly below.^[19] The Mathematical forms – stereometric models in plaster – were created in the 19th century to provide students with a visual understanding of complex trigonometric functions. The Mechanical forms – machine models including gears, pumps and regulators – are industrial tools used to demonstrate basic movements of modern machinery. Sugimoto began working on this series as a response to The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) by Marcel Duchamp.^[20]

For the series Stylized Sculpture (2007), Sugimoto selected distinctive garments by celebrated couturiers from the collection of the Kyoto Costume Institute, shot in chiaroscuro on headless mannequins—from Madeleine Vionnet’s precociously modern T-dress and Balenciaga’s wasp-waisted billowing ensemble to Yves St Laurent’s strict geometric Mondrian shift and Issey Miyake’s sail-like slip.^[21]

For his 2009 series Lightning Fields Sugimoto abandoned the use of the camera, producing photographs using a 400,000 volt Van de Graaff generator to apply an electrical charge directly onto the film.^[4] Instead of placing an object on photo-sensitive paper, then exposing it to light, he produced the image by causing electrical sparks to erupt over the on surface of a 7-by-2.5-foot sheet of film laid on a large metal tabletop.^[22] The highly detailed results combine bristling textures and branching sparks into highly evocative images.

Recent work

In 2009 U2 selected Sugimoto’s Boden Sea, Uttwil (1993) as the cover for their album No Line on the Horizon to be released in March that year. This image had previously been used by sound artists Richard Chartier and Taylor Deupree for their 2006 CD inspired by Sugimoto’s “seascapes” series.^[23] Sugimoto noted it was merely a “coincidence” that the image appears on both album covers. In addition, he notes that the agreement with U2 was a “stone age deal” or, artist-to-artist. No cash exchanged hands, rather a barter agreement which allows Sugimoto to use the band’s song “No Line on the Horizon” (partly inspired by the “Boden Sea” image) in any future project.^[24]

In 2009, Sugimoto acquired some rare negatives made by Henry Fox Talbot in the 1840s and retrieved through an intensely fragile process what “looks remarkably like Plato’s shadows in the cave”.^[25] The works of Sugimoto’s All Five Elements series (2011) consist of optical quality glass with black and white film.^[26] On the occasion of Art Basel in 2012, Sugimoto presented Couleurs de l’Ombre, 20 different colorful scarf designs in editions of just seven, all created – using a new inkjet printing method – for French fashion label Hermès.^[27]

Architecture

Sugimoto is also an accomplished architect. He approaches all of his work from many different perspectives, and architecture is one component that he uses to design the settings for his exhibitions. His recent projects include an architectural commission at Naoshima Contemporary Art Center in Japan, for which Sugimoto designed and built a Shinto shrine.^[28] He also gets involved with the performance art occurring beside them. This allows him to frame his works precisely the way he wants to.

In 2013, Sugimoto created a sculpture and rock garden for the Sasha Kanetanaka restaurant in Omotesandō, Tokyo. He also designed Stove, a top-tier French restaurant housed in a refurbished wooden house in the Kiyoharu Art Village, Yamanashi Prefecture.^[29]

Exhibitions

Sugimoto has exhibited extensively in major museums and galleries throughout the world, including the Museum of Contemporary Art in Los Angeles (1994), the Metropolitan Museum of Art, New York (1995); Deutsche Guggenheim, Berlin (2000); the Kunsthaus Bregenz, Austria (2002); the Serpentine Gallery, London (2003) and the Fondation Cartier pour l’Art Contemporain, Paris (2004). A major 30-year survey of his work opened at the Mori Art Museum, Tokyo in 2005 and travelled to the Hirshhorn Museum and Sculpture Garden, Washington, D.C. and the Modern Art Museum of Fort Worth, Texas (2006). In 2007, a European retrospective began at K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2007) and traveled to the Museum der Moderne, Salzburg, Neue Nationalgalerie, Berlin and Kunstmuseum Luzern, Switzerland. (2008). In 2011, Gagosian Gallery in Paris showed Sugimoto’s series Stylized Sculpture alongside Rodin‘s sculptures The Three Shades (c. 1880), Monument to Victor Hugo (1897), and The Whistler Muse (1908).^[21]

In 2005, Japan Society, New York, and Arthur M. Sackler Gallery, Washington, organized a US and Canadian tour of “Hiroshi Sugimoto: History of History”, an exhibition of artifacts that Sugimoto has collected over the years, particularly from East Asia and Japan, curated by the artist himself (travelled to the Kanazawa 21st Century Museum of Contemporary Art and the National Museum of Art, Japan).^[30]

Collections

Sugimoto’s work is held in numerous public collections including the Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; Museum of Contemporary Art, Tokyo; Museum of Modern Art, New York; National Gallery, London; National Museum of Modern Art, Tokyo; Smithsonian Institution, Washington, D.C.; MACBA, Barcelona; and Tate Gallery, London.^[31]

Awards

• 2001 – Hasselblad Foundation International Award (Hasselblad Honour).
• 2009 – Japanese Art Association: Praemium Imperiale prize for the ‘Painting’ category^[4]
• 2010 – Medal with Purple Ribbon

Books

• Seascapes. Los Angeles: Museum of Contemporary Art, 1994. ISBN 0-914357-32-8.
• Time Exposed. London: Thames & Hudson, 1995. ISBN 0-500-97427-6.
• In Praise of Shadows. Germany: Steidl, 2000. ISBN 4-7713-3414-5.
• Theatres. Koln: Walther Konig, 2006. ISBN 0-615-11596-9.

Art market

Sugimoto has been represented by Pace Gallery, New York, since 2010,^[32] while also regularly showing with Gagosian Gallery. Before, he showed with Sonnabend Gallery.

References

External links

• Biography, interviews, essays, artwork images and video clips from PBS series Art:21 — Art in the Twenty-First Century – Season 3 (2005).
• official webpage
• Interactive web catalogue for “Hiroshi Sugimoto: Photographs of ‘Joe’ ” at the Pulitzer Foundation for the Arts
• Hiroshi Sugimoto at Gagosian Gallery
• Listing at Luminous Lint
• Benesse Art Site Naoshima

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Facing death head on:

Chamber of Horrors
People in olden times were apparently less fearful and grievous of death than we are today. To some it was even an honor to be chosen by the gods as a sacrificial victim, a liberation from the sufferings and strife of this life. I went to London in 1994, and visited Madame Tussaud’s Wax Museum. There I saw the blade that guillotined Louis XVI and Marie Antoinette and the electric chair that executed the Lindberg baby’s kidnapper, among other exhibits―all very real. To corroborate these various murderous instruments invented by civilized men, I took the requisite eye-witness photographs: thus did people in times past face death head on. Several years later when in visited again, the Chamber of Horrors exhibits were gone. When I asked why, I was told they’d been removed in a gesture to political correctness. Must we moderns be so sheltered from death? – Hiroshi Sugimoto

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In this video from 5:45 to 8:00 he visited Duchamp’s art and then said how much he was influenced by him

Hiroshi Sugimoto on Memory

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Related Posts:

At Berkeley the Free Speech Movement arose simultaneously with the hippie world of drugs. … but rather a call for the freedom to express any political views on Sproul Plaza. … followed the teaching of Herbert Marcuse (1898-). Marcuse was a German professor of philosophy related to the neo-Marxist

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