Hiroshi Sugimoto’s project Theaters, initiated in the late 1970s shortly after his relocation to the United States, explores the relationship between photography, cinema, and the passage of time. Primarily set within old American movie palaces, drive-in theaters, and later European opera houses, Sugimoto employs long-exposure techniques, capturing entire films within a single photographic frame. The result—a luminous white screen illuminating intricate architectural interiors—reveals the hidden structures of theaters otherwise cloaked in darkness.
Emerging during a critical period when traditional photography's perceived objectivity was being widely questioned, Sugimoto's Theaters directly engages with this cultural shift. By reducing cinema to its core elements—light and duration—he transforms entire films into singular luminous compositions that invite reflection on time and perception. Each photograph simultaneously preserves and erases the film's story, highlighting the ephemeral nature of cinema and its role in cultural memory.
Visually, the project is marked by meticulous composition and dramatic contrasts. Each photograph centers around an illuminated rectangle, starkly contrasted by detailed architectural features rendered through prolonged exposure. Sugimoto's choice of black-and-white gelatin silver prints enhances a mood of quiet contemplation, nostalgia, and historical reflection. The absence of human presence adds to a somber, introspective atmosphere, further emphasizing the stillness amid implied motion.
Sugimoto’s technical process involves large-format cameras—primarily 8x10—and custom equipment designed to prevent film movement during extended exposures. He meticulously hand-develops prints, reinforcing his commitment to photographic craft and precision.
From its debut in Dioramas, Theaters, Seascapes at Sonnabend Gallery, New York (1988), Theaters moved to the first full publication Theaters (2000), then to major retrospectives—Hiroshi Sugimoto at the Mori Art Museum, Hirshhorn, and de Young (2005–2007)—followed by a site-specific installation at Pace Gallery, New York (2016) and inclusion in Hiroshi Sugimoto: Time Machine at the Hayward Gallery, UCCA, and the Museum of Contemporary Art Australia (2023–2024). Related honors for Sugimoto include the Hasselblad Award (2001), Praemium Imperiale (2009), and Japan’s Medal with Purple Ribbon (2010).
