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MAN RAY La Prière, 1930

\n","version","7561","articles",[3388,3409,3419],{"_3389":3390,"_3391":109,"_3392":3393,"_3382":3394,"_3395":3396,"_3397":3398,"_3399":1440,"_3400":411,"_3401":3402,"_403":411,"_3403":3404,"_3405":3406,"_3407":3408},"coverUrl","https://flockler.com/thumbs/sites/889/43_001-ed2a89da-009a-41fe-a6a8-1753380b5fc4_s600x0.jpg","section","summary","Our London specialists examine four photographs by women artists ahead of this May's auction. ","ULTIMATE: Four Exceptional Fresh-To-Market Works","body","

Ishiuchi Miyako 絶唱、横須賀ストーリー#73 大滝町 Yokosuka Story #73 Ōdaki-chō, 1977

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ULTIMATE is a unique selection of photographs available for sale only at Phillips. In this edition, we have curated a multifaceted collection of exclusive works, ranging from rare masterpieces to unique works and sold-out editions. As this exciting program evolves, so do our criteria for entry. If it’s the first, the last, special, unique, a one-off or the only chance to own it, then it might just be the ultimate…

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While each work is distinctive, the one thing they all have in common is that they are not available anywhere else. We are thrilled to present fresh-to-market works by three women artists, including Helena Almeida’s unique work Seduzir (lot 41), two rare vintage prints from Ishiuchi Miyako’s Yokosuka Story (lots 42 and 43), and our cover lot by Anne Collier (lot 45).

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Helena Almeida Seduzir, 2002

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A woman’s body in a knee-length black dress, her hands clenched at her waist as she stands with one black high heel on and the other off. The discarded shoe lies on its side, with red paint on the insole and on the ground in front. Since 1969, Helena Almeida has produced photographs mainly in black and white. Refusing to be categorised, Almeida is not just photographer, painter, sculptor or performance artist, but all of these, treating herself as the canvas and using her body to paint and draw. Her body stands for all and any body, and is no longer her own.

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\n
What interests me is always the same thing: space ... But what I want to work on is emotions. They constitute different ways of telling a story.
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Seduzir [Seduce], offered here, is from a body of work Almeida created between 2000 and 2002. Some critics posit that this series investigates the art of allurement and seduction, while others argue that it explores the death of Almeida’s sister. Through these images, which number approximately 45, we see Almeida’s body in a variety of poses, full figure or in fragments, some with red paint and others without. In the present lot, as with most of her works, the face is out of the frame, enabling the viewer to focus on the figure in the space, on her legs, her feet and her high heels. The red acrylic paint, evoking blood, draws our eye to the discarded shoe; the brightness of the pigment is heightened against the monochromatic imagery. Since the 1960s, Almeida has worked almost exclusively in her studio. In these later works, she frames her actions within these confines, capturing fragmented edges of the space as seen in the present composition.

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In addition to her numerous exhibitions worldwide, Almeida was included in the 1982 and 2005 Venice Biennales. She has been exhibited internationally, including her major retrospectives Helena Almeida: Feet on the Ground, Head in the Sky at Serralves Foundation in Porto (2003) and Jeu de Paume’s Corpus (2016) in which other works from this series were exhibited. Other Seduzir works reside in the collection of the Calouste Gulbenkian Museum in Lisbon.

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A promotional card for the first exhibition of Yokosuka Story, featuring Ishiuchi's handwriting overlaid on Yokosuka #5

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In Yokosuka Story, Ishiuchi Miyako presents a fictional Yokosuka rendered in black and white. Dark, grainy and off-kilter, her photographs are quietly unsettling, as seen in the following two works. Juxtapositions of close-up and faraway views, straight and oblique angles, derelict buildings and solitary figures reflect the tensions she felt growing up in the turbulent base town. On completing her project in March of 1977, Ishiuchi showed 100 photographs of Yokosuka to Nobuyoshi Araki, whose introduction to Jun Miki, photographer and director of Nikon Salon, resulted in her maiden solo show Yokosuka Story from 26 April to 1 May at Nikon Salon in Ginza, Tokyo. In the following year, Ishiuchi founded the publishing company Shashin Tsūshinsha, financed with the three million yen her father had saved for her wedding, to self-publish her first two photobooks, which included Yokosuka Story (1979).

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Yokosuka Story #5 (lot 42) and Yokosuka Story #73 (lot 43), offered here, were acquired from Gallery Past Rays in Yokohama, which, in 1997, held the first exhibition of Yokosuka Story in 20 years, showing both early and modern prints, to mark the 20th anniversary of Ishiuchi’s 1977 maiden show at Nikon Salon.

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Ishiuchi Miyako 絶唱、横須賀ストーリー#5 野比海岸, Yokosuka Story #5 Nobikaigan, 1976

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In this bold composition, the windswept grasses fill more than half of the frame. Ishiuchi’s preferred language of grain and the repeated curves of the grasses create an emotionally charged photograph, enabling the viewer to feel the power of the wind and to hear the rustling of the grasses. One of the most important photographs from the project, Yokosuka Story #5 was selected as the image to promote Ishiuchi’s 1977 inaugural Yokosuka Story exhibition.

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Ishiuchi Miyako 絶唱、横須賀ストーリー#73 大滝町 Yokosuka Story #73 Ōdaki-chō, 1977

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Here, we see a close up of the back of an American wearing a denim jacket embroidered with a skull and crossbones and the words ‘USS Rathburne’ and ‘You’ll Never Go Again!!’ as he is about to cross the road. The ambiguity of the scene is highlighted in Ishiuchi’s choice of angles and cropping. Her manipulation of the photographic image in the camera and in the darkroom enables her to tell a personal story that also alludes to broader themes of alienation and disaffection of urban life in post-war Japan.

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In 1979, Ishiuchi became the first woman to receive the Kimura Ihei Award, the most coveted photography award in Japan, and the only woman artist to be included in the group exhibition Japan: A Self-Portrait at the International Center of Photography in New York. She represented Japan at the 2005 Venice Biennale and is a multiple award winner, including Japan’s Medal with Purple Ribbon (2013) and the Hasselblad Award (2014). Her work has been exhibited internationally and recent museum retrospectives include Ishiuchi Miyako: Postwar Shadows at the J. Paul Getty Museum, Los Angeles (2015-16) and Ishiuchi Miyako: Grain and Image at the Yokohama Museum of Art (2017-18).

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Anne Collier Folded Madonna Poster (Steven Meisel), 2007

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A once-folded poster of Madonna from a photograph taken by Steven Meisel for her 1993 single ‘Bad Girl’ is pinned in the top two corners to a white wall. Photographing found objects and appropriated imagery, Anne Collier questions the ways in which these images are presented and perceived, aiming to elicit ‘a sense of emotional or psychological uncertainty’ through her image-making process.

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In Folded Madonna Poster (Steven Meisel), she transforms the object into the subject and asks us to join her in analysing the process of perception and presentation. The title of the work highlights that this is a picture within a picture; we know both what we are looking at (a folded poster of Madonna) and by whom the image was originally taken (Steven Meisel). In acknowledging these two aspects, Collier draws our attention to how this image was initially presented and consumed. Influenced by the work of Cindy Sherman, Laurie Simmons and other ‘Pictures Generation’ artists, Collier re-contextualises popular imagery and visual clichés. She challenges how photography structures our ways of seeing by drawing our attention to these mechanics as seen in the present work.

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\n","publishDate","2019-04-26T18:00:13.000000Z","coverPosX","coverPosY","articleUrl","https://www.phillips.com/article/42639423/ultimate-female-photographers","auctionEditorialID",554,"editorialID",615,"flocklerID",42639423,{"_3389":3410,"_3391":109,"_3392":3411,"_3382":3412,"_3395":3413,"_3397":3414,"_3399":1440,"_3400":411,"_3401":3415,"_403":175,"_3403":3416,"_3405":3417,"_3407":3418},"https://flockler.com/thumbs/sites/889/p10_001-8d91ae84-0b18-4cb2-8f1c-95b6c4a693e5_s600x0.jpg","This May in London, Phillips will present a selection of ten unique photographs that demonstrate the crucial partnership between photographer and model. ","ULTIMATE EDITORIAL: Iconic Collaborations in Fashion Photography","

ULTIMATE EDITORIAL celebrates the power of collaboration in 10 captivating photographs by today’s leading forces in fashion. From legendary photographer Steven Meisel to rising star Txema Yeste, our 10 featured artists together represent four decades of image-making.

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The images we have carefully chosen were created for editorial and appeared originally in magazines such as Vogue, LOVE and Numéro. In our curation, these photographs stand alone as works of art that can be described as timeless, powerful, distinctive and intoxicating. The model is a key collaborator and serves as inspiration for the creative vision. The subjects in our photographs, including considerable star power from Naomi Campbell to Liu Wen, have forged strong relationships with the artists that continue to this day.

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All 10 featured works have been printed and released for the first time for ULTIMATE EDITORIAL and are either completely unique or from an edition of one in a unique size. The extraordinary caliber of these photographs is a testament to the power of collective creativity.

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Txema Yeste Bird of Paradise, 2016

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Txema Yeste created this exquisite portrait of Dutch beauty Roos Abels for the December/January 2016-17 issue of Numéro. Here, we see an angelic face partially concealed by a delicate peacock feather; the resulting effect is that of a uniquely ethereal image that immediately transports us to a timeless dimension. Yeste has chosen to print this photograph using the laborious dye transfer process, which possesses a greater color range and tonal scale than any other photographic process. The unique dye transfer print featured here is remarkable in its depth and beauty. Yeste’s work is widely published in such influential magazines as Vogue, Vanity Fair, Harper’s Bazaar and Numéro and he has shot campaigns for many top brands, including Armani, Roberto Cavalli, Lancôme and Viktor & Rolf. His work has been exhibited internationally, including ArtisTree’s Beyond Fashion in Hong Kong (2019) and is held in the collection of the Museu del Disseny de Barcelona.

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Julia Hetta Untitled, 2015

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Julia Hetta’s distinctive use of light, color and texture is evident in this enchanting photograph featuring Anna Cleveland, the daughter of 1970s supermodel and Dalí muse Pat Cleveland, shot for the Spring/Summer 2016 issue of AnOther Magazine. Here, the otherworldly model is portrayed as a fantastical creature; wearing a yellow-plumed ostrich feather dress, she stands in a flamingo’s one-legged stance with her arm and neck extended in opposite directions, her chin resting on her beak-like hand. Her contours delineated against the dark background highlight Hetta’s dreamlike vision in which reality and fantasy fuse together harmoniously. Based in Stockholm, Hetta has photographed for such leading publications as Vogue, Vanity Fair and AnOther Magazine and her work has been exhibited internationally, including Foam’s 2014 exhibition Don’t Stop Now: Fashion Photography Next, which showcased next-generation photographers working in fashion today.

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Emma Summerton Kloss & Quinn, 2018

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Emma Summerton unveils her whimsical vision with a carefully crafted floral celebration for Vogue Spain’s June 2018 cover story, featuring Karlie Kloss. In the present work, Karlie is presented as a faceless mannequin, covered head to toe in a patchwork of brightly coloured, elaborately patterned textiles. Fabric printed with a sky motif is used as the backdrop, as well as on the floor, transforming the studio into a surreal setting. The fascinating interplay between art and artifice, as seen here, is a distinctive element in Summerton’s photographs. Collaborating regularly with such leading publications as Vogue, i-D, Self Service and Dazed & Confused, Australian-born Summerton divides her time between London and New York. Her work has been exhibited internationally, including ArtisTree’s Beyond Fashion in Hong Kong (2019) and the upcoming Body Beautiful: Diversity on the Catwalk at the National Museum of Scotland opening in May 2019.

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Liz Collins Cara Sweetie, 2014

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The idiosyncratic vision of Liz Collins comes to life in this tantalizing and playful photograph of Cara Delevingne taken for the Fall/ Winter 2014 issue of LOVE. As the opening image of the editorial ‘Sweetie’, a wilful, half-naked Cara wears a bubble-gum pink wig and pale blue leather boots, while straddling a giant Drumstick lolly amid a sea of candy-coloured balls, bags and lollipops. Collins began her career in 1990s London, working for British magazines Dazed & Confused and The Face at a time when only a few women photographers were active in fashion. She works across the spectrum of the international fashion press, including Vogue, LOVE, Elle and Harper’s Bazaar, and her commercial clients include Guerlain, Givenchy, YSL and Chloé. Collins’s work has been exhibited internationally, including New York’s MoMA and New Museum.

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Sølve Sundsbø Cara, 2011

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Sølve Sundsbø took this ethereal photograph of Cara Delevingne for Vogue China’s December 2011 issue, closing Cara’s breakthrough year as a model. In this stunning image, Cara personifies an angel fallen on earth, wearing an almost entirely transparent dress complete with a pair of wings, a halo of light delicately outlining her heavenly aura. ‘Although relatively unknown,’ remembers Sundsbø, ‘you could feel the energy and potential in her.’ Just one year following this collaboration, Cara won ‘Model of the Year’ at the 2012 British Fashion Awards. Sundsbø successfully works across a range of platforms from photography and fashion to music and film, winning an Emmy® award in 2011 for ‘Fourteen Actors Acting’, a video project for The New York Times. He has exhibited internationally, including his 2018 solo show Beyond the Still Image at Palazzo Reale in Milan, and his work is held in the collection of the National Portrait Gallery, London.

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Sun Jun Looking Through The Glass, 2015

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Fashion, photography and traditional Chinese painting seamlessly merge in these striking images created by Sun Jun for the December 2015 issue of Harper’s Bazaar China, featuring Chinese supermodel Liu Wen. In this unique diptych, imbued with a visual sensibility that is distinctively Chinese, the elegant figure of Liu Wen is delineated against a textured background. The tasselled fans with their fine embroidery of natural motifs reinforce a sense of a timeless aesthetic. This diptych represents Sun’s unique image-making process whereby the photograph is superimposed with hand drawn elements. One of China’s leading artists in fashion, Sun began learning the art of traditional Chinese painting at the young age of seven. A graduate of China Academy of Art, the Shanghai-based artist collaborates regularly with such leading publications as Vogue, Harper’s Bazaar, Cosmopolitan and L’Officiel.

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Erik Madigan Heck Dior Couture, 2014

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Transporting the viewer to a bygone era, this image by Erik Madigan Heck was created for Town & Country’s December 2014 editorial ‘Dreamcatchers’, featuring hypnotic Polish beauty Kasia Jujeczka. In Heck’s distinctive approach to image-making, photography and painting intersect: ‘Paintings make me think more abstractly about my photographs,’ explains Heck, ‘They aren’t as limited as photographs are – they are physically built rather than taken, so to speak.’ His painterly aesthetic is seen in his treatment of colour and pattern; the pale blue and the florals in the present work function to flatten the picture plane. Heck is a regular contributor to The New York Times Magazine, Vanity Fair, TIME and The New Yorker and in 2013 became one of the youngest artists to receive ICP’s Infinity Award. His first monograph Old Future was published by Thames & Hudson in 2017 and his work has been shown internationally, including Foam’s 2014 exhibition Don’t Stop Now: Fashion Photography Next.

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Steven Klein Guinivere at the Pink Mansion, Beverly Hills, 2017

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Taken on the tennis court of a Versailles-inspired mansion in Los Angeles, this captivating photograph by Steven Klein shows Guinevere van Seenus getting busy on a training day with her four-legged friends. Wearing a Dolce & Gabbana bustier top, briefs and high heels, Guinevere displays athleticism, lifting two dogs as hand weights, with a white poodle leashed to her leg. A variant was published in the January 2018 issue of Vogue US to illustrate an article on how the wellness craze has extended from humans to their pets. Klein is one of the most innovative and provocative artists working in fashion today. His image-making is grounded in reality but the template is constructed with elements of allure and ironic humour as seen here. His work resides in several public collections, including London’s National Portrait Gallery and V&A and New York’s International Center of Photography.

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Mikael Jansson Kaia Gerber, Paris, 2018

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Of the 13 photographs taken by Mikael Jansson for Vogue Paris’s October 2018 cover story, the present work, featuring rising model Kaia Gerber (daughter of Cindy Crawford), was selected as the official cover. Here, Jansson captures Kaia’s transformation from day to night: on the left, she wears natural makeup and no earring; on the right, she wears metallic blue eyeshadow, glossy red lipstick and a single diamond drop earring. This duality has been skillfully rendered by Jansson in this bold, playful photograph. Throughout his long career, which began with assisting the legendary Richard Avedon in New York in the late 1980s, Jansson has shot for such leading publications as Vogue, W, Harper’s Bazaar and Interview. His work has been featured internationally, including MoMA’s 2004 exhibition Fashioning Fiction in Photography since 1990 and his 2007 solo show and monograph Speed of Light at Stockholm’s Kulturhuset Stadsteatern and published by Steidl.

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Steven Meisel Naomi Campbell, New York City, 2019

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The March 2019 cover of British Vogue celebrates the power of creative collaboration between two legends of fashion – image-maker Steven Meisel and supermodel Naomi Campbell – who have defined key moments in our social history and visual culture for over 30 years. ‘When Naomi works with Meisel,’ describes Editor-in-Chief of British Vogue Edward Enninful, ‘she practically becomes a teenager again, shy and focused … They know each other so well that they don’t really need words.’ Here, through multiple exposure and deliberate blurring, Meisel has created a surreal composition. A master storyteller, he perfectly captures Naomi in all her majestic elegance as ‘a genuine icon’ in this enchanting three-sided portrait.

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For his homage to Naomi, Meisel takes us back to the very beginning of their relationship and gives us a rare glimpse into their friendship:

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“This image is a portrait of one of the strongest, most inspiring, driven and uniquely talented humans I have been blessed to know. Naomi told me recently that we’ve been working together for over 25 years, which in itself seems incredible. I remember so well the first time I saw her face. It was in an issue of French Elle. She jumped out of the page with that smile, something so real. So I tore out the page and kept it. Soon after that I booked her for American Vogue. She turned up at the studio, it was the first time we met, hair back, shy, quiet and head-to-toe in black Azzedine. From that very first job together, she’s always given 100%, always on time, always professional however insane things got around us, and it’s been that way ever since. I love Naomi and above all, she’s a loyal and loving friend.”

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Throughout his multi-decade career, Meisel has continued to cast his spell over our cultural consciousness, shooting inspiring covers for Vogue internationally since the 1980s, as well as creating visionary campaigns for such leading designers as Prada, Loewe, Valentino and Calvin Klein.

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\n","2019-04-23T18:27:10.000000Z","https://www.phillips.com/article/42590559/ultimate-editorial",551,613,42590559,{"_3389":3420,"_3391":109,"_3392":3421,"_3382":3422,"_3395":3423,"_3397":3424,"_3399":1440,"_3400":411,"_3401":3425,"_403":108,"_3403":3426,"_3405":3427,"_3407":3428},"https://flockler.com/thumbs/sites/889/57_001-e28be2a2-aa98-4685-80d9-cf4a7ce4222f_s600x0.jpg","With our May Photographs sale just around the corner, we explore the artists who are fresh to the secondary market. ","ULTIMATE: Eight Artists Debuting at Auction","

Hiroki Inoue Fox Chase: Wherever you go, I will follow!, 2016

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In this edition of ULTIMATE, we are thrilled to present eight auction newcomers, each bringing a unique perspective not seen before at Phillips. Exciting works by these artists include Andrew Zuckerman’s hyperreal portrait of a grizzly bear standing nearly three meters tall (lot 51), our back-cover lot by Yuji Hamada that examines the Rubik’s Cube through the Polaroid emulsion-lift technique (lot 50), and Jinhee Kim’s hand-embroidered Labor of Love diptych (lot 44).

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Jinhee Kim Labor of Love 001 & 002, 2016

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A handwritten poem Jinhee Kim discovered on one of the many old postcards she had collected from flea markets was the inspiration behind her hand-embroidered Labor of Love diptych. Her painstaking creative process involved photographing 40 postcards, depicting such ordinary scenes as mountains, lakes and buildings and digitally assembling them into two grids of 20 postcards each, which she then printed as two separate photographs. Using pale colored threads, Kim embroidered by hand the found poem – O weep O curse for love tho’ sometimes it be good / take all the stars from up above and throw them out to sea / O sing O dance for love tho’ it may sometimes end / fetch all of the stars from out of the sea and give them to a friend – over the postcard images. In photographing the postcards, the artist flattens them into one plane, which in turn heightens the three-dimensionality of the embroidery. For Kim, the use of the hand in embroidering the photographs "connotes personal memories and is also a non-linguistic way of communicating." Seoul-based Kim has won several awards, including the 2011 Sajin Bipyong Award, and has been selected for a number of photo festivals, including the 2015 Seoul New York Photo Festival. Her work is held in the collection of the Kiyosato Museum of Photographic Arts in Japan.

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Reine Paradis Empty Pool from Jungle, 2015

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For her first series Jungle, Reine Paradis stages herself as the protagonist, bringing to life the dreamlike scenes she has previously sketched. This performative aspect is key to her image-making process: "It is a necessity for me to 'live' the scene in order to transmit the original vision completely." In Empty Pool, offered here, a setting that we normally associate with water and movement is transformed into one of emptiness and stillness. Applying hyperreal colors and fictional touches to real locations, in this case, an empty public pool in Los Angeles, Paradis playfully explores the boundaries between reality and fiction. She self-published her first monograph Jungle in 2017 and her 2019 feature documentary Queen of Paradis – on the making of her latest series Midnight – has won ‘Best Feature’ at the LA Indie Film Festival.

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Takashi Arai Fukushima, 2016-2017 from Daily D-Type Project, 2016-2017

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Since the 2011 Great East Japan Earthquake that triggered a meltdown at the Fukushima Daiichi Nuclear Power Plant, Takashi Arai has continued to photograph Fukushima using the daguerreotype process as part of his Daily D-type Project, which he had begun earlier that same year. Aiming to record the effect of this disaster on daily life in Fukushima, Arai renders his own perspective onto small metallic plates, measuring 6.3 x 6.3 cm. The nine unique daguerreotypes, presented here, were selected by the artist and together reveal a personal narrative of daily life in present day Fukushima. The eerie blue, resulting from intentionally overexposing the plate, casts a ghostly atmosphere over the seemingly deserted scenes. Arai’s work has been exhibited internationally in numerous museums, including Yokohama Museum of Art and SFMOMA, and resides at Tokyo Photographic Art Museum; MEP, Paris; Musée Guimet, Paris; and MFA, Boston.

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Yuji Hamada cube from C/M/Y, 2014

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For cube, offered here, Yuji Hamada chose the Rubik's Cube as his motif and created nine unique prints using the Polaroid emulsion-lift technique. His meticulous image-making process involves immersing Polaroids in water to lift off separately the cyan, magenta and yellow emulsion layers, which he then overlays in different combinations onto watercolor papers. "It is tough working with sensitive, skin-thin layers," explains Hamada, "but overlaying the different coloured layers makes me feel as though I’m silkscreen printing." Hamada’s playful interpretation of the iconic 3-D puzzle epitomizes his continued exploration of color and shape; his process of deconstructing and reconstructing the original image has resulted in entirely new images. The present work is part of his ongoing C/M/Y series in which he questions the act of seeing through his photographic experimentation. Hamada has published four photobooks – photograph (2014), C/M/Y(2015), BRANCH (2015) and Broken Chord (2017) – and has won several awards, including Magenta Foundation’s Flash Forward Competition in 2011 and 2013.

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Andrew Zuckerman Grizzly Bear 26, 2009

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Exploring the intersection between nature and technology, Andrew Zuckerman presents here a hyperreal portrait of a grizzly bear, standing nearly three meters tall against a stark, white backdrop. What appears at first to be a straightforward photograph of an animal uncovers, on closer investigation, his meticulous image-making process, which combines aesthetic sensibilities with technical innovations. To create this image, Zuckerman first photographed the bear on location in Montana, using his signature white backdrop to remove the animal from its environmental context. Back in his New York City studio, he used advanced imaging technology to add details to the photographic image, resulting in a resolution that surpasses all existing in-camera technology. Lastly, the final image was UV printed directly onto Dibond in 1:1 scale. In addition to multiple books, his immersive investigation of the natural world has been presented in three volumes published by Chronicle: Creature (2007), Bird (2009), and Flower (2012). Works from Creature have been exhibited at Kunsthal Charlottenborg, Copenhagen and the Nevada Museum of Art, Reno.

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Eiji Ohashi Roadside Lights #001, 2017

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The ever-present vending machine is a staple of Japanese landscape and can be found alongside nearly every road, illuminating the streets at night. One winter night, Eiji Ohashi was caught in a snowstorm and it was only with the help of these glowing appliances that he managed to navigate his way home. Since then he has travelled around his home country to photograph vending machines, resulting in his ongoing Roadside Lights series. "[The vending machines] work tirelessly, whether it is day or night, but once their sales drop, they are taken away," notes Ohashi, "If they do not glow and shine, they will stop existing. There might be something human about them." He has been the recipient of numerous awards, including the Moscow International Foto Awards (2016), photo-eye Best Books (2017) and the Special Photographer Award at the 34th Higashikawa Awards (2018).

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Choi Youngdon a day, 2008

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36 different globes at 36 different longitudes mark the passing of a single day in the present work by Choi Youngdon. Working over an eight-month period in 2008 while living in Canada, he collected 36 globes made in the 20th century from antique shops around Toronto then photographed each globe at a 10-degree difference in longitude, finally assembling the images as a single photograph to represent a full rotation of the Earth. For Choi, "the passage of time in this full rotation discloses the idea that physical time flows equally wherever we live, whenever we live." In this work, the artist presents a new way to visualize and consider existence, seeking to interrogate how we use time. His work has been exhibited internationally, including Korea’s Hangaram Art Museum and Gwangju Museum of Art, as well as the National Museum of Indonesia in Jakarta.

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Hiroki Inoue Fox Chase: Wherever you go, I will follow!, 2016

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This photograph of two red foxes racing across the snowy landscape in Hokkaidō, Japan won Hiroki Inoue the 2016 National Geographic Travel Photographer of the Year Award. While driving along the snow-covered wheat field in Biei, Hokkaidō, Inoue unexpectedly heard the barking of foxes through his open window. He quickly parked his car, set up his camera and photographed the wild foxes whose voices seem to echo, "Wherever you go, I will follow!" The beautiful pinkish hue of the sky is a natural phenomenon caused by the light lingering in the eastern sky immediately following sunset. Using the stunning landscape of his homeland as his starting point, Inoue seeks to appreciate and capture those brief, unpredictable encounters with the elusive foxes – richly symbolic animals within Japanese folklore. His works have been widely exhibited in Japan, and in 2017, National Geographic published his first photobook Follow Me, featuring his photographs of Hokkaidō’s wild foxes in winter.

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39

Man Ray

Rayograph

完整圖錄內容

Man Ray