Wapiti, 1980. Hiroshi Sugimoto (Japanese, born 1948). Gelatin silver print. The J. Paul Getty Museum, Los Angeles, Purchased with funds provided by the Photographs Council. © Hiroshi Sugimoto 

LOS ANGELES, CA.- Since the mid-1970s, Hiroshi Sugimoto (Japanese, born 1948) has used photography to investigate how history pervades the present. Featuring photographs of habitat dioramas, wax portraits, and early photographic negatives, Hiroshi Sugimoto: Past Tense, on view February 4–June 8, 2014 at the J. Paul Getty Museum, Getty Center, brings together three separate bodies of work that present objects of historical and cultural significance in the collections of various museums. By photographing subjects that reimagine or replicate moments from the distant past and diverse geographical locations, Sugimoto critiques the medium’s presumed capacity to portray history with accuracy. 

“This exhibition presents work that inventively reframes objects from the collections of a variety of museums, including from our extensive holdings of prints from the early days of photography,” explains Timothy Potts, director of the J. Paul Getty Museum. “Mr. Sugimoto has generously donated eighteen prints from his recent Photogenic Drawings series, which reprise a selection of important experiments by William Henry Fox Talbot that are in the Getty Museum’s collection.” 

Sugimoto’s meticulously crafted prints are the result of a rigorous working method that includes extensive preparatory research, the use of a large-format view camera, and long exposures. Each of his projects is rooted in a sustained exploration of a singular motif and often carried out over many years. The exhibition presents a selection of prints from three bodies of work, Dioramas (1975–1994), Portraits (1999) and, his newest series, Photogenic Drawings (2008–present). 

Dioramas

The diorama was first introduced in Paris in 1822 by the stage designer Jacques Louis Mandé Daguerre (French, 1787–1851), who later developed the daguerreotype photographic process. Situated in a darkened room, the first diorama consisted of a large painted scene on a semi-transparent curtain that was illuminated by the opening and closing of skylights and the constant shifting or dimming of lamps to create the impression of movement. In the early 20th century, habitat dioramas in natural history museums became popular, staging creatures in their faithfully replicated “natural” environments. 

Sugimoto first encountered elaborate animal dioramas at the American Museum of Natural History after moving to New York in 1974, and began to focus his camera on individual scenes shortly thereafter. Omitting the educational text surrounding each display, the works heighten the illusion that animals such as manatees, wapiti, and sea lions were photographed in their natural habitats. While each photograph appears to be a candid moment captured by an experienced nature photographer, the subjects are – in actuality – depicted in poses they hold indefinitely. 

Wax Portraits

While waxworks have a long history, contemporary wax museums can be traced to the French sculptor Marie Grosholz (French, 1761–1850), who achieved success in the Parisian entertainment market by creating waxworks of popular politicians and cultural figures. After moving to London in 1802, she established a commercial enterprise under the name Madame Tussaud, specializing in the production and display of full-length wax figures modeled after commissioned portraits. 

Posed against pitch-black backdrops and framed by the camera in a manner suggesting old master portrait-painting traditions, each of Sugimoto’s subjects was captured with a nine-minute exposure that illuminates the finely modeled expressions and the sumptuous costumes. These life-size photographs record likenesses that have been distilled through multiple reproductions of the original sitter. The source material for the wax figures of Henry VIII and his wives is based on 16th-century panel paintings, while the portrait of Queen Victoria’s likeness is taken from a photograph of her from the 1890s, around the time of her Diamond Jubilee celebration. 

The artist’s gift of eighteen gelatin silver prints from his Photogenic Drawings series significantly enhances the Museum’s holdings of work by Sugimoto. His photographic practice, rooted in a serial approach and primarily concerned with the medium’s relationship to the passage of time, has long been an important source of influence for a younger generation of artists. The prints greatly enhance the Getty Museum’s growing collection of contemporary photographs. 

Hiroshi Sugimoto: Past Tense is on view February 4–June 8, 2014 at the J. Paul Getty Museum, Getty Center. The exhibition runs concurrently in the Center for Photographs with A Royal Passion: Queen Victoria and Photography, an exhibition featuring rare private and public photographs from the Victoria era. 

Hiroshi Sugimoto, Henry VIII, from “Portraits”, commissioned work for the Deutsche Guggenheim, 1999 © Hiroshi Sugimoto

Queen Victoria, 1999, Hiroshi Sugimoto, gelatin silver print. Courtesy of Fraenkel Gallery, San Francisco. © Hiroshi Sugimoto

A Stem of Delicate Leaves of an Umbrellifer, circa 1843-1846, 2009, Hiroshi Sugimoto, toned gelatin silver print. The J. Paul Getty Museum, gift of the artist. © Hiroshi Sugimoto

Polar Bear, 1976, Hiroshi Sugimoto, gelatin silver print. The J. Paul Getty Museum, purchased with funds provided by the Photographs Council. © Hiroshi Sugimoto

Hiroshi Sugimoto, Earliest Human Relatives, 1994. gelatin silver print, 47" x 58-3/4" (119.4 cm x 149.2 cm). © Hiroshi Sugimoto

Roofline of Lacock Abbey, circa 1835-1839, 2008, Hiroshi Sugimoto, toned gelatin silver print. The J. Paul Getty Museum, gift of the artist. © Hiroshi Sugimoto

Permian Land, 1992, Hiroshi Sugimoto, gelatin silver print, 47" x 73" (119.4 cm x 185.4 cm).© Hiroshi Sugimoto

Hiroshi Sugimoto (Japanese, born 1948), Bust of Venus, November 26, 1840, 2009. Gelatin silver print. Image: 36 7/8 x 29 1/2 in. Framed: 48 7/8 x 41 1/2 in. © Hiroshi Sugimoto

Hiroshi Sugimoto (Japanese, born 1948), Ohio Theater, Ohio, 1980. gelatin silver print, 47" x 58-3/4" (119.4 cm x 149.2 cm).© Hiroshi Sugimoto