Tokihiro sato biography for kids

Tokihiro Sato

Description

Tsukudajima 1991_2017
Tokihiro Sato
90 x 150 cm
Pigmented ink-jet print, ed. 12
P.O.R.

Akihabara 1992_2017
Tokihiro Sato
90 x 150 cm
Pigmented ink-jet print, ed. 12
P.O.R.

“Camera Lucida, Tsuruoka” #33, 2015
Tokihiro Sato
30 x 38 cm
Pigmented ink-jet print, ed. 12
P.O.R.

“Camera Lucida, Tsuruoka” #8, 2015
Tokihiro Sato
30 x 38 cm
Pigmented ink-jet print, ed. 12
P.O.R.

“Camera Lucida, Tsuruoka” #37, 2015
Tokihiro Sato
30 x 38 cm
Pigmented ink-jet print, ed. 12
P.O.R.

“Camera Lucida, Tsuruoka” #4, 2015
Tokihiro Sato
30 x 38 cm
Pigmented ink-jet print, ed. 12
P.O.R.

“Camera Lucida, Tsuruoka” #34, 2015
Tokihiro Sato
30 x 38 cm
Pigmented ink-jet print, ed. 12
P.O.R.

“Sakura on Sakura” #12, 2018
Tokihiro Sato
1118 x 1615 mm
Pigmented ink-jet print, ed. 12
P.O.R.

“Sakura on Sakura” #16, 2018
Tokihiro Sato
1118 x 1615 mm
Pigmented ink-jet print, ed. 12
P.O.R.

“Sakura on Sakura” #24, 2018
Tokihiro Sato
1118 x 1615 mm
Pigmented ink-jet print, ed. 12
P.O.R.

“Sakura on Sakura” #6, 2018
Tokihiro Sato
1118 x 1615 mm
Pigmented ink-jet print, ed. 12
P.O.R.

347 Hattachi, 1998
Tokihiro Sato
1495 mm x 1835 mm (frame not included)
Pigmented ink-jet print
P.O.R.

In the Alps #10, 2015
Tokihiro Sato
1117 mm x 1440 mm (frame not included)
Coloured ink-jet print
P.O.R.

In the Alps #6, 2015
Tokihiro Sato
1117 mm x 1440 mm (frame not included)
Coloured ink-jet print
P.O.R.

Kesennuma, 2013
Tokihiro Sato
1117 mm x 1440 mm (frame not included)
Pigmented ink-jet print
P.O.R.

Kyotango #3, 2013
Tokihiro Sato
1117 mm x 1440 mm (frame not included)
Pigmented ink-jet print
P.O.R.

Musenyama #2, 2013
Tokihiro Sato
1117 mm x 1440 mm (frame not included)
Pigmented ink-jet print
P.O.R.

Nikko ’13, 2013
Tokihiro Sato
1117 mm x 1440 mm (frame not

  • Tokihiro Sato is one of Japan's

    • Light Panels

    While mine may not be the most sensitive eye, I have, in the course of training it over the course of many exhibitions, learned to make a rough estimation of a work when I see it. In my long experience as a writer engaged in such fieldwork, however, I have rarely found myself standing stock still in front of a work, riveted by its impact. But once, over a quarter of a century ago, at a 1988 solo exhibition by Sato Tokihiro in a gallery in Ginza, I felt that rare thrill. I still vividly recall my excitement. The event was a solo exhibition announcing what now seems like a monumental turning point, the beginning of Sato’s shift from sculpture, his major at Tokyo University of the Arts, to the medium of photography. To me, though, having just begun my tours of the Tokyo art scene and knowing nothing about the circumstances behind that exhibition, it was just another random encounter.　

    How many photographs were there that far from spacious gallery? The details are gone with the wind; only the singular images, which captured my eye as soon as I entered the gallery, remain fresh in my memory, perhaps because I looked at them over and over, never tiring of them. The setting for those photographs was, perhaps, a building at Tokyo University of the Arts, Sato’s alma mater. In stairways, hallways, and rooms cloaked in darkness, were clusters of frail white lines, bending, rising from the floor. Like linear life-forms with a will of their own, ranks of them moved, multiplying, from downstairs to upstairs, upstairs to downstairs, without a sound. What were those clusters of wavering white lines? Sato himself was unfortunately not there to answer my question. The gallery owner, to whom I did address it, revealed the secret: they were the traces of light from a penlight that the artist himself waved around within his camera’s field of view. By making an extended exposure, leaving the shutter open, the shadow of the artist himself, who repeatedly acted and mo

    What’s a Camera? ─ Taking Pictures with a Cardboard Box and a Magnifying Glass

    One of the artists in the exhibition “Mercedes-Benz Art Scope 2015-2017: Wandering to Wonder,” Tokihiro Sato, invites you to find out how to take pictures not with a camera or a smartphone, but with just a cardboard box and a magnifying glass. This hands-on workshop is open to everyone, both young and old.

    Lecturer: Tokihiro Sato (Professor, the Tokyo University of the Arts)
    Date and Time: July 22 (Saturday), 2017 1:30 pm – 4:00 pm
    Place: The Hall at the Hara Museum of Contemporary Art

    Capacity: 15 groups (15 cardboard cameras will be available). Reservations will end when the capacity is reached.
    Fee: free (admission fee required)/General: 1,100 yen; Students 700 yen (high school and university), 500 yen (elementary and junior high)
    *Reservation closed.

    ★ Target age: elementary school and above. Elementary school children should be accompanied by a guardian (admission fee is required of the guardian).

    Requests for reservations will be accepted by email at event@haramuseum.or.jp starting from 11:00 am on June 30 (Friday). Send the email with “7/22 workshop application” on the subject line, then in the body of the email write your name, contact phone number, number of people in your group (if a minor, please indicate his or her age or grade in school) and the desired number of cardboard cameras. Hara Museum members should also include their membership number. You will receive confirmation of your reservation by return mail. Please contact us if you do not receive a reply within 4 days. (We ask that you contact us should you need to cancel your reservation.)

    *Please note that documentary photographs and video may be taken of workshop activities by the museum and members of the media and that such imagery may be used in various media formats for publicity and other purposes.

    Tokihiro Sato

    Born in 1957 in Yamagata, Japan, Sato graduated with a B

    Tokihiro Sato is one of Japan's best known artists working in photography. Trained as a sculptor, he has been using photography since the late 1980s to express his ideas about light and space. In an ongoing series that he describes as “breath graphs”; or ”photo respiration,” tiny points of light or illuminated lines record his movements through space. Using a large-format camera set on a tripod and timed for exposures that may last from one to three hours, he moves quickly through the described space. When shooting in daylight, he flashes a mirror at the sun. At night, or indoors, he uses a flashlight. The resulting photographs capture exquisitely detailed scenes punctuated by pinpoints or linear patterns of light that depict the artist's presence but not his image.

    ONE- AND TWO-PERSON EXHIBITIONS

    2022

    Tokihiro Sato: Hachinohe Magic Lantern, Hachinohe Art Museum, Aomori Prefecture, Japan

    2017

    Micheko Gallery, Munich, Germany

    2015

    Tokihiro Sato, Piet Hein Eek Art Gallery, Eindhoven, The Netherlands

    Sato Tokihiro, Tsuruoka Art Forum Gallery, Tsuruoka, Japan

    2014

    Tokyo Metropolitan Museum of Photography, Japan

    2010

    Presence or Absence: The Photographs of Tokihiro Sato, Frist Center for the Visual Arts, Nashville, Tennessee

    Trees, Leslie Tonkonow Artworks + Projects, New York

    Trees, Haines Gallery, San Francisco

    2008

    Fukushima City Museum of Photography, Japan

    2007

    Haines Gallery, San Francisco

    Gallery Raku, Kyoto, Japan

    2006

    Tai Gallery, Santa Fe, New Mexico

    2005

    Leslie Tonkonow Artworks + Projects, New York

    The Art Institute of Chicago

    Haines Gallery, San Francisco

    Gallery Gan, Tokyo

    2004

    The Museum of Modern Art, Saitama, Japan

    Camera Obscura Project, Yamaguchi Center for Arts and Media, Japan

    2003

    Cleveland Museum of Art

    Leslie Tonkonow Artworks + Projects, New York

    2002

    Hamada Children’s Museum of Art, Japan

    2001

    Gallery Gan, Tokyo

    2000

    Leslie Tonkonow Artworks + Projects, New York

    1999

    The Museum of Modern Art, Saitama,

      Tokihiro sato biography for kids
  • Tokihiro Sato is a Japanese photographer