Daido Moriyama (Japanese, b. 1938) Ebina, Kanagawa 1969 From A Hunter Gelatin silver print 23 x 35″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
I have so many exhibitions lined up in the next few weeks that there will be some mid-week postings!
It is a great privilege and pleasure to be able to publish these photographs by master Japanese photographer Daido Moriyama (Japanese, b. 1938), many of which were unknown to me. Thank you to The Photographers’ Gallery for allowing me to do so…
Moriyama’s photographic style is unmistakable. “Renowned for his bold are, bure, boke aesthetic – grainy, blurry and out-of-focus images that defy photographic convention”, Moriyama’s contrasty, slightly high key, sometimes flash photographs of unusual perspectives and intimate glances capture “something that’s mysterious and unknown in everyday life.”
This buying exhibition highlights the quieter, more reflective moments of Moriyama’s work. I know only too well what sensitivity and envisioning it takes to picture these intimacies of everyday life … almost inconsequential until they are bought into the photographer’s consciousness in a resolved manner (previsualisation), then through negative and print and eye into the consciousness of the viewer.
The images are memorable and unforgettable. Buy one!
Dr Marcus Bunyan
Many thankx to The Photographers’ Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“It may look like I’m just pointing the camera at what’s in front of me. But I’m trying to photograph what people see, but don’t notice – something that’s mysterious and unknown in everyday life.”
Daido Moriyama
Daido Moriyama (Japanese, b. 1938) Untitled 1968 From Japan: A Photo Theater Gelatin silver print 14 x 17″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Camera Mainichi, Hiroshima 1974 Gelatin silver print 11 x 14″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Hokkaido 1978 Gelatin silver print 10 x 12″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Hokkaido 1978 Gelatin silver print 11 x 14″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Cherry Blossom, Zushi, Kanagawa 1982 Gelatin silver print 18 x 22″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Screenshot
Daido Moriyama (Japanese, b. 1938) How to Make Beautiful Photos 1987 Gelatin silver print 11 x 14″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Born in Osaka, Japan, in 1938, Daido Moriyama’s celebrated career has been shaped by constant reinvention and experimentation. Over six decades, he has become renowned for his bold are, bure, boke aesthetic – grainy, blurry and out-of-focus images that defy photographic convention. A pivotal figure in the radical Provoke movement of the late 1960s, Moriyama redefined photography, unbound by traditional constraints, capturing fragments of reality that “cannot be expressed in language as it is.”
Moriyama is best known for recording the freneticism and anonymity of life in the city, Encounters reveals his lesser-explored ability to show beauty and stillness in the everyday. Softly lit city streets, rendered in grainy textures, evoke a surreal and poetic visual language that embraces imperfection. Fleeting moments of calm and intimacy are paired with whimsical glimpses of animals and delicate vignettes of nature – blossoms, snowflakes and quiet, weathered corners of urban sprawl – revealing an unexpected tenderness amongst his raw and gritty aesthetic.
In recent years, Moriyama has described his work as a visual diary, shooting pictures daily to document the ever-changing landscape of urban life. His enduring question- “What is photography?”-remains an open one which continues to probe the medium’s position between the objective and the subjective, the illusory and the real.
Text from The Photographers’ Gallery website
Daido Moriyama (Japanese, b. 1938) Japan Photo Theater 1968 Gelatin silver print 11 x 14″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Asahi Journal 1969 Gelatin silver print 11 x 14″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) A Hunter 1972 Gelatin silver print 11 x 14″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Shinjuku 2002 Gelatin silver print 10 x 12″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
The Print Sales Gallery at The Photographers’ Gallery will be showing a gentler side of the iconic Japanese photographer Daido Moriyama’s work this Spring. Following 2023’s major retrospective at The Photographers’ Gallery, which offered an in-depth exploration into his groundbreaking career, Daido Moriyama: Encounters takes a more intimate approach. Focusing on a smaller selection of photographs, this selling exhibition highlights the quieter, more reflective moments of Moriyama’s work. “It may look like I’m just pointing the camera at what’s in front of me. But I’m trying to photograph what people see, but don’t notice – something that’s mysterious and unknown in everyday life.”
Born in Osaka, Japan, in 1938, Daido Moriyama’s celebrated career has been shaped by constant reinvention and experimentation. Over six decades, he has become renowned for his bold are, bure, boke aesthetic – grainy, blurry and out-of-focus images that defy photographic convention. A pivotal figure in the radical Provoke movement of the late 1960s, Moriyama redefined photography, unbound by traditional constraints, capturing fragments of reality that “cannot be expressed in language as it is.”
Moriyama is best known for recording the freneticism and anonymity of life in the city, Encounters reveals his lesser-explored ability to show beauty and stillness in the everyday. Softly lit city streets rendered in grainy texture evoke a surreal and poetic visual language that embraces imperfection. Fleeting moments of calm and intimacy paired with whimsical glimpses of animals and delicate vignettes of nature – blossoms, snowflakes and quiet, weathered corners of urban sprawl – reveal an unexpected tenderness amongst his usual raw and gritty aesthetic.
This selling exhibition marks the Print Sales Gallery’s new representation of Daido Moriyama. All prints on show and from Moriyama’s archive are available to buy, in a range of sizes. Prices start at £1,200 + VAT. All profits from Print Sales support The Photographers’ Gallery’s public programme.
Print Sales at The Photographers’ Gallery
Print Sales at The Photographers’ Gallery is a dedicated space for discovering and buying fine-art photographic prints, with all proceeds supporting The Photographers’ Gallery public programme. Representing a roster of international photographers – from established names to emerging talent – a curated series of selling exhibitions each year brings you the best of both sought-after classics and brand-new contemporary work.
Press release from The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from Record No. 14 2010 Gelatin silver print 18 x 22″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from Record No. 18 2011 Gelatin silver print 14 x 17″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from Record No. 22 2012 Gelatin silver print Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from K 2017 Gelatin silver print 14 x 17″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from K 2017 Gelatin silver print 10 x 12″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from Record No. 35 2017 Gelatin silver print 10 x 12″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
Daido Moriyama (Japanese, b. 1938) Untitled, from Ango 2017 Gelatin silver print 23 x 35″ Courtesy of the Daido Moriyama Photo Foundation and The Photographers’ Gallery
The Photographers’ Gallery 16-18 Ramillies Street London W1F 7LW
“We are living in a time when, to borrow a phrase and book title of Sigmund Freud’s, civilization and its discontents are becoming painfully evident to us all. Our machine age technology with its private greed, ecologically disastrous policies, crass materialism, human alienation, incessant strife and conflict, and the portent of man’s destroying himself by his own recklessness, is taking its toll in terms of our confidence and optimism about life. …
When we turn to our popular culture – which includes the arts – for diversion and meaning, we are confused, oftentimes, by the welter of contradictory impressions. We are trivialized and mesmerized by the pap that is purveyed on the television and radio, and in newspapers and magazines. We take away from our experience with these forms of entertainment a sense of having spent time but not having been taught anything or having been ennobled. We learn without understanding and visualize without seeing.”
John Anson Warner. “Introduction” to The Life & Art of the North American Indian. London: Hamlyn, 1975, p. 6.
Photography and its discontents
I love Moriyama’s early gritty, surreal, street snap style, high contrast black and white photographs. They possess a certain air, a certain essentialness, established through the artist’s unique aesthetic “famously known by the Japanese phrase ‘are, bure, boke’ (meaning ‘grainy, blurry, out of focus’).” The images are memorable and unforgettable.
I am far lest convinced by Moriyama’s contemporary photographs. His attempts to democratise the image – where he is trying to create something more automatic and where each image becomes of equal importance and meaning – leads to the collective banality of photography. As Diane Smyth observes, “I think he clearly understands that this banality, this horizontality is an essential aspect of photography.”
Instead of a hierarchical system of valuing significant images, Moriyama “rejected the dogmatism of art and the veneration of vintage prints, making the accessible and reproducible aspects of photography its most radical asset.” (Press release)
“Since the 1990s he has used a digital camera to make colour photographs, looking at advertisements in shopping malls and beyond. He is interested in the idea that the image is becoming more present in reality, in certain cases even substituting our reality. His work from the 2000s envelops the architecture of the gallery with vinyls, he makes huge patterns of images that go from floor to ceiling. Of course he’s anticipating our lives completely connected to screens, to these multiple virtual realities of the image which are making and in a way eliminating the real world.”2
As Paul Virlio has observed, images contaminate us like viruses. He suggests that they communicate by contamination, by infection. In our ‘media’ or ‘information’ society we now have a ‘pure seeing’; a seeing without knowing.3 Images “infiltrate our collective consciousness, touching every aspect of our lives. From the advertisements that entice us to purchase particular products, to the news coverage that shapes our understanding of current events, visual imagery surrounds us and leaves an indelible mark on our subconscious. This notion becomes particularly relevant in our increasingly digital age, where images have become the primary vehicle for communication and information dissemination… In an age where images dominate and multiply, the line between reality and its representation blurs.”4
A seeing without knowing… a democracy of the image… the banality of the photograph / photography … the line between reality and its (multiple) representations.
Again, I repeat that I am not convinced by Moriyama’s contemporary photographs. While I understand his investigation into contemporary photographic re/production I am not persuaded by the promiscuity nor by the profundity of his image making. If we look at the installation photographs of Moriyama’s work from Pretty Woman in this exhibition (below) where images go from floor to ceiling I struggle to make sense of this mass of information… and I will struggle to remember any of the images minutes or even seconds after seeing them. None of these photographs leaves an indelible mark on our subconscious. But perhaps that is the point (or just, my point of view).
What makes Moriyama’s early photographs so remarkable is that they are memorable. We remember them because they are iconic, they have a distinctive excellence. The Stray Dog that roaming mongrel staring balefully at us; the surreal Bunuel-like opening of the eye Setagaya-ku, Tokyo, Midnight; the fleeing woman in Yokosuka (1970) so much better in black and white.
Moriyama’s black and white photographs provide “a raw, restless vision of city life and the chaos of everyday existence, strange worlds, and unusual characters.” More than that, they plunge us into a mesmerising, hypnotic world where the viewer is immersed in a fractured dream / scape / space… Strange, haunting and evocative, Moriyama’s black and white photographs project the derangement of the world onto the psyche of the viewer, producing an abnormal condition of the mind that promotes a loss of contact with reality.5 This derangement of the world, this re/arrangement of the world and the mind resonates within our subconscious, like harmonics in music. Something that a thousand thousand thousand irrelevant, inconsiderate (not examined, not remembered) photographs can never do.
2/ Paul Virilio. “The Work of Art in the Electronic Age,” in Block No. 14, Autumn, 1988, pp. 4-7 quoted in McGrath, Roberta. “Medical Police,” in Ten.8 No. 14, 1984 quoted in Watney, Simon and Gupta, Sunil. “The Rhetoric of AIDS,” in Boffin, Tessa and Gupta, Sunil (eds.,). Ecstatic Antibodies: Resisting the AIDS Mythology. London: Rivers Osram Press, 1990, p. 143
4/ Marcus Bunyan commenting on the exhibition Fracture: Daido Moriyama at the Los Angeles County Museum of Art (LACMA) on the Art Blart website July 20, 2012 [Online] Cited 08/02/2024
Many thankx to The Photographers’ Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
The world is a reality, not because of the way it is, but because of the possibilities it presents.
Frederick Sommer
“Forget everything you’ve learned on the subject of photography for the moment, and just shoot. Take photographs – of anything and everything, whatever catches your eye. Don’t pause to think.”
“There may remain some fragments of memory still lying in the depths of my experience waiting to be awakened, and they are ready to evoke new memories at any time. Of course, I need to interpose a camera into that place.”
“To focus on reality or be concerned with memory, choices that, at first glance, seem opposite are, in fact, identical twins for me.”
Daido Moriyama
The retrospective focuses on different moments of Moriyama’s vast and productive career – beginning with his early works for Japanese magazines, interest in the American occupation, and engagement with photorealism. During this time Moriyama also established his unique aesthetic, famously known by the Japanese phrase are, bure, boke (meaning ‘grainy, blurry, out of focus’).
The second part of the exhibition picks up his work from the self-reflexive period in the 1980s and 1990s. In the decades which followed, he explored the essence of photography and of his own self, developing a visual lyricism with which he reflected on reality, memory and cities through tireless documentation and the reinvention of his own archive.
Fittingly, Daido Moriyama: A Retrospective, brings together more than 200 works and large-scale installations, as well as many of Moriyama’s rare photobooks and magazines, for the first time in the UK. One floor of the gallery has been transformed into a reading room – a dedicated space offering a rare opportunity to spend time with his legendary publications.
Text from The Photographers’ Gallery website
For more than sixty years, Daido Moriyama (森山 大道 b. 1938) has used his camera to interrogate and revolutionise the way we look at the world with his dense, grainy images. Even today, Moriyama’s pioneering artistic spirit and visual intensity remain groundbreaking.
The exhibition traces the path of a photographer who transformed the way we see photography and questioned the very nature of photography itself.
Installation views of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing at left in the bottom image, work from Farewell Photography (1972).
His 1972 photobook Farewell Photography highlights photography itself, showing edges of discarded film, flecks of dust, and sprocket holes and questioning its role as a medium.
Installation views of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing at left in the bottom image, work from Farewell Photography (1972).
Installation views of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing work from Provoke (1968-1970)
Installation view of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing work from Japan, a Photo Theater
Installation view of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024
Installation views of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing work from A Hunter
Installation view of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing covers of Record magazine top to bottom No’s 1-53
Installation views of the exhibition Daido Moriyama: A Retrospective at The Photographers’ Gallery, London October 2023 – February 2024 showing work from Pretty Woman
Curator Thyago Nogueira spent three years working with Moriyama on The Photographers’ Gallery retrospective
What Moriyama is really saying is that it’s in the nature of photography to be reproducible and replicable. He’s against and not interested in the veneration of artworks, he wants photography to be disseminated. It’s one of his most radical ideas. So we’re presenting plenty of pages from the magazines and books, printed, on the gallery walls and for visitors to browse, and have made videos flipping through each of his really rare books. There’s also a whole section dedicated to seeing the original books. It is going to be a very dense show. But we also wanted to break the hierarchy between a framed picture, a printed image, a wallpaper, and a vinyl. So there are all these different and very interesting kinds of images. …
In the 1960s and 70s, he was making extraordinary, beautiful images, capturing Japanese society and this ambiguous feeling towards Westernisation and the erosion of traditional Japanese culture. He was also a very interested in the nature of the language of photography, and all the possibilities that that language could offer. He started to struggle with the idea of photography being a window to the world, and started testing the materiality and the flatness of the image. He worked as a conceptual artist. He was saying, ‘There’s nothing beyond an image, this is just an image’, and to accept that was radically original and beautiful.
But he has continued to move and has become, if anything, more in tune with the times. Since the 1990s he has used a digital camera to make colour photographs, looking at advertisements in shopping malls and beyond. He is interested in the idea that the image is becoming more present in reality, in certain cases even substituting our reality. His work from the 2000s envelops the architecture of the gallery with vinyls, he makes huge patterns of images that go from floor to ceiling. Of course he’s anticipating our lives completely connected to screens, to these multiple virtual realities of the image which are making and in a way eliminating the real world.
Since 2006 he has also published a magazine called Record, where he is photographing every day non-stop, looking at his own neighbourhood and daily life. He’s addressing issues of ego, saying ‘I don’t think artists are more special than anyone else’ and trying to produce something more automatic, and thus democratic. I think he clearly understands that this banality, this horizontality is an essential aspect of photography.
The Photographers’ Gallery presents the first UK retrospective of work by the acclaimed Japanese photographer, Daido Moriyama (b. 1938).
Featuring over 200 works, spanning from 1964 until the present day, Daido Moriyama: A Retrospective traverses different moments of Moriyama’s vast and productive career.
Taking over the whole Gallery, this exhibition celebrates one of the most innovative and influential artists and street photographers of our day. Championing photography as a democratic language, Moriyama inserted himself up close with Japanese society, capturing the clash of Japanese tradition with an accelerated Westernisation in post-war Japan. With his non-conformist approach and desire to challenge the medium, his work is tirelessly unpretentious, raw, blurred, radical and grainy and has defined the style of an entire generation.
Moriyama has spent his sixty-year career asking a fundamental question: what is photography? He rejected the dogmatism of art and the veneration of vintage prints, making the accessible and reproducible aspects of photography its most radical asset. Over and over, he reused his photographs in different contexts, experimenting with enlargements, crops and printing. Most of his work was made for printed pages rather than gallery walls. Fittingly, Daido Moriyama: A Retrospective is the first UK exhibition to showcase many of his rare photobooks and magazines.
These publications, dating from early rare editions and out-of-print Japanese magazines to more recent titles, are on show alongside large-scale works and installations. The magazines and photobooks will give visitors unrivalled access to abundant archival and visual material to view, read and discover.
Presented in two phases of Moriyama’s work, Daido Moriyama: A Retrospective starts with Moriyama’s early work for Japanese magazines, his challenging of photojournalism, his experiments in Provoke magazine and the conceptual radicalisation of his photobook Farewell Photography (1972). During this period, he established his unique aesthetic, famously known as, buke, boke (meaning ‘grainy, blurry, out of focus’).
The second part of the exhibition starts in the 1980s, when Moriyama overcame a creative and personal crisis. In the following decades, he explored the essence of photography and of his own self, developing a visual lyricism with which he reflected on reality, memory and history.
Moriyama renewed street photography inside and outside Japan. His wanderings led him to cover miles in Tokyo, Osaka and Hokkaido, but also New York, Paris, São Paulo and Cologne. His work and travels are showcased in Record magazine, which the photographer continues to publish today.
Daido Moriyama: A Retrospective is the product of a three-year research period, and is one of the most comprehensive exhibitions ever mounted of this artist’s work. It is organised by Instituto Moreira Salles in cooperation with the Daido Moriyama Photo Foundation.
The accompanying catalogue Daido Moriyama: A Retrospective is published by Prestel, £45.
Learn more about Moriyama, a name synonymous with avant-garde photography, in this quick guide
Born in 1938 in Osaka, Japan, Moriyama’s photographic journey has been one of constant reinvention, testament to his unrelenting pursuit of the unexpected, chaotic, and the intensely personal.
Here we delve into seven things to know about Moriyama, the subject of the first retrospective of his work in the UK, now on at The Photographers’ Gallery:
1. A lens on post-war Japan
Born in post-war Japan, Daido Moriyama embraced photography as a democratic language, promoted by the mass media industry. His work encapsulates the clash between Japanese tradition and Westernisation, following the US military occupation of Japan after the end of World War II. He saw his camera as a tool for capturing not just images but also the essence of an evolving society, making his photographs a mirror to an era of rapid transformation.
2. Influence of American artists
Moriyama was profoundly influenced by American artists like Andy Warhol and William Klein, as well as novelist and poet Jack Kerouac. Their bold and unconventional styles left a mark on his work. This influence can be seen in his daring approach to photography.
3. Provoke era
Provoke was a Japanese magazine which rejected the glossy commercial imagery and the style of documentary photography. Provoke was part of the photographic movement that arose out of the late 1960s and was motivated by the opposition artists had felt towards the traditional powers of Japan.
Moriyama played a pivotal role in the Provoke era, which saw a radical departure from conventional photography. He, along with other like-minded artists, aimed to free photography from its traditional confines. They believed in creating images that didn’t rely on words for interpretation.
4. Unique aesthetic
Moriyama’s work is known for its distinct style characterised in Japanese by ‘are, bure, boke,’ which translates as ‘grainy, blurry, out of focus’. This unique style challenges the conventional notion of photography and invites us to experience images in a new way.
5. Raw, radical, real approach to photography
Moriyama is a trailblazer in the world of photography, effectively reinventing street photography. He challenged the status quo by rejecting traditional norms and embracing the accessible and reproducible nature of photography as its most radical asset – something he continues to do to this day.
6. Farewell Photography and Record
Photobooks play a critical role in Moriyama’s work – one of his most radical works is Farewell Photography (Shashin yo Sayonara) – a book that pushes the boundaries of photographic reality. Moriyama collected rejected images, discarded photos, and even odd negatives to create a chaotic yet thought-provoking sequence of grainy, cropped, solarised, and scratched images. This work is a rebellion against conventional photography.
Magazines were also Moriyama’s fertile ground for photographic production and debates. His journey through photography can be seen in his ongoing publication, Record magazine. It’s a diary of his life in cities, a place where he explores his obsessions, insecurities, and memories. Flip through its pages, and you’ll experience an intimate glimpse into Moriyama’s life.
7. What is Photography?
Moriyama has spent his career asking a fundamental question: “What is photography?”
He rejected the dogmatism of art and the fetishisation of vintage prints, instead embracing the accessible and reproducible aspects of photography as its most radical asset.
Daido Moriyama (Japanese, b. 1938) Cover of Record No. 8 Published 2007 Tokyo: Akio Nagasawa Publishing
“It was 34 years ago, back in 1972, that I came out with the self-published photo journal ‘Kiroku.’ At the time, I was busy with all sorts of work for magazines. Partly because of a daily feeling inside that I shouldn’t let myself get carried away by it all, I came up with the idea of a small, self-published personal photo journal. Without any ties to work or any fixed topic, I just wanted to continue publishing a 16-page booklet with an arbitrary selection of favourite photos among the pictures I snapped from day to day. By nature, it was directed first and foremost to myself rather than other people. I wanted a simple, basic title, so I called it ‘Kiroku’ (record). However, the publication of ‘Kiroku’ sadly ended with issue number five. Now, thanks to the willpower and efforts of Akio Nagasawa, ‘Kiroku’ the magazine has resumed publication. Or rather, we should call it a fresh publication. With the hope that it will continue this time, I am selfishly thinking of asking Mr. Nagasawa to publish ‘Kiroku’ at a pace of four issues per year. I happily accept his proposal and look forward now to embarking on a new ‘voyage of recording.'”
~ Daido Moriyama
Daido Moriyama (Japanese, b. 1938) Cover of Record No. 48 Published September, 2021 Tokyo: Akio Nagasawa Publishing
A few days ago in the evening, I suddenly felt the urge to take a train to Yokosuka. It was already after 8 PM when I arrived in the “Wakamatsu Market” entertainment district behind Yokosuka Chuo Station on the Keihin Line, but due to the ongoing pandemic, the lights of the normally crowded shops were all switched off. The streets at night had turned into a bleak, dimly lit place, with the usual drunken crowd nowhere in sight. I eventually held my camera into the darkness and shot a dozen or so pictures, while walking quite naturally down the main street toward the “Dobuita-dori” district. However, most of the shops here were closed as well, and only a few people passed by. It was a truly sad and lonely sight.
“Little wonder,” I muttered to myself, considering that more than half a century had passed since the time I wandered with the camera in my hand around Yokosuka, right in the middle of the Vietnam War.
It was here in Yokosuka that I decided to devote myself to the street snap style, so the way I captured the Yokosuka cityscape defined the future direction of my photographic work altogether. I was 25 at the time, and was still in my first year as an independent photographer. I remember how determined and ambitious I was when I started shooting, eager to carry my pictures into the Camera Mainichi office and get them published in the magazine. It was a time when I spent my days just clicking away while walking around with the camera in my hand, from Yokosuka out into the suburbs, from the main streets into the back alleys.
I had been familiar with the fact that Yokosuka was a US military base since I was a kid, and it also somehow seemed to suit my own constitution, so I think my dedication helped me overcome the fearfulness that came on the flip side of the fun that was taking photos in Yokosuka.
These are the results of a mere two days of shooting, but somewhere between the changing faces of Yokosuka, and my own response from the position of a somewhat cold and distant observer in the present, I think they are reflecting the passage of time, and the transformations of the times.
~ Afterword by Daido Moriyama
The Photographers’ Gallery 16-18 Ramillies Street London W1F 7LW
Exhibition dates: 17th October 2023 – 21st January 2024
Benjamin Brecknell Turner (English, 1815-1894) North Side of Quadrangle, Arundel Castle
1852-1854
Negative photograph on paper
29.7 x 39.6cm
BnF, department of Prints and Photography, RES PHOTO EI-6-BOITE FOL B (n° 3)
Gift of André and Marie-Thérèse Jammes, 1960
What a lovely exhibition to start the year 2024 on Art Blart.
My favourite photographs in the posting: three beautiful fashion photographs by Frères Séeberger; a stunning late Atget Parc de Sceaux, Duchess Alley (between 1925 and 1927, below) in which you can feel the crispness in the air of the early winter morning; and the glorious seascapes of Gustave Le Gray, probably the best (and most atmospheric) photographer of the sea in all time.
In this posting we observe how black and white photographs are never just black and white but full of different hues and colours. These colour variations tell us a lot about the perception of the image.
As the exhibition text notes: “The strength of the blacks and whites, the variations of hues influence our perception of the image: the more contrasted it is, the more readable it is for our eye saturated with absolute blacks and whites; the more nuanced it is, the more sensitive the distance of time becomes.”
As we enter a new year, another year further away from the origin of the light captured in these photographs, the sensitivity of early photographers and their ability to displace time continues to entrance the viewer.
Dr Marcus Bunyan
Many thankx to the Bibliothèque nationale de France (BnF) for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Noir & Blanc: Une esthétique de la photographie
Black and white is inseparable from the history of photography: its developments, from the end of the 19th century to today, have revealed its plastic force. While the use of colour intensified from the 1970s, black and white reinvented itself as a means of assertive aesthetic expression emphasising graphics and material. Black and white photography remains less expensive and simpler, but its persistence to this day can be explained above all by the fact that it has come to embody the very essence of photography. It appears to carry a universal, timeless, even memorial dimension, where colour would be the sole translation of the contemporary world.
The National Library of France holds one of the richest photographic collections in the world with some six million prints, these are particularly representative of this abundant history of black and white photography.
Benjamin Brecknell Turner (English, 1815-1894) Arbre le long d’une clotûre (Tree along a fence)
1852-1854
Negative photograph on paper
23.5 x 27.3cm
BnF, department of Prints and Photography, RES PHOTO EI-6-BOITE FOL B (n° 3)
Gift of André and Marie-Thérèse Jammes, 1960
Photography on paper, with its speed and precision, revolutionised image production in the mid-19th century. The prerequisite is the production of a negative then of the same size as the print. The first negatives are on paper. Reversing the values of blacks and whites, they offer an unknown vision of the world. These oppositions, inverted or not, are the basis of the aesthetics of photography.
One of the earliest British amateur photographers, Benjamin Brecknell Turner (1815-1894) was experimenting with photography barely ten years after the invention of the medium. He exhibited widely during his lifetime and is best known for his beautiful photographs of 19th-century England, picturesque ruins and rural scenes.
A founder member of the Photographic Society of London, Turner contributed to the rapid technical and aesthetic development of photography in the 1850s. Our collection includes a unique album compiled by Turner, ‘Photographic Views from Nature’, containing some of the earliest photographs made in and around the counties of Worcestershire, Surrey, Sussex, Kent and Yorkshire, alongside the radical modern architecture of the Crystal Palace in London’s Hyde Park.
Text from the V&A website
The origins of black and white
Before the invention of colour photography by the Lumière brothers in 1903, one might believe that all photography was black and white. The reality is more complex: the early days were more those of a varied range of values where pure blacks and whites were the exception and so-called sepia tones were the most common. The negative / positive process patented by the Englishman Fox Talbot in 1841 makes it possible to multiply the prints on paper and therefore to vary the shades.
Certain subjects play on oppositions: the mountain views of the Bisson brothers, the Great Wave by Gustave Le Gray, the portraits of the prolific amateur Blancard.
Désiré Charnay (French, 1828-1915) Chichen Itza: Bas-relief des Tigres, Palais du Cirque (Chichen Itza: Bas-relief of the Tigers, Circus Palace)
1859-1861
Print on gold-toned albumen paper from a collodion glass negative
BnF, Department of Prints and Photography, RES PHOTO VZ-940-FT4
In 1861, Charnay gave Napoleon III a copy of the album American Ruins composed for the Emperor of expensive proofs on albumen paper toned with gold, in an exceptional format, the miraculous result of his Mexican epic. The shift to gold accentuates the vigour of the contrasts and brings a cold tone to the blacks.
Désiré Charnay (French, 1828-1915) Uxmal: détail de la façade dite de la couleuvre (Uxmal: detail of the so-called snake facade)
1859-1861
From the album American Ruins
Print on gold-toned albumen paper from a collodion glass negative
59 x 78.2cm
BnF, Department of Prints and Photography, RES PHOTO VZ-940-FT4
The forty-nine views of the ruins of Yucatan, Chiapas, Tabasco and the province of Oaxaca constitute the first set of photographs entered into the collections of the Geographical Society, in 1861. During the general assembly of November 29 , Charnay presents his collection of photographs exhibited in the meeting room. The same day, at the Academy of Inscriptions and Belles Lettres, Jomard returns to the quality of Charnay’s photographs, which allow us to conclude that American art – the Egyptologist’s supreme tribute – “deserves a place alongside Assyrian art, and even alongside the art of the Egyptians.”
Bisson frères. Louis-Auguste (French, 1814-1876) and Auguste-Rosalie (French, 1826-1900) La crevasse (départ) sur le chemin du grand plateau, ascension du Mont-Blanc (The crevasse (departure) on the way to the grand plateau, ascent of Mont-Blanc)
1862
Print on albumen paper from a wet collodion glass negative
BnF, Department of Prints and Photography, EO-14 (3)-FOL
In 1861, the Bisson brothers managed to hoist their photographic equipment to the summit of Mont Blanc. Mountaineering feat, photographic feat: in these extreme conditions, the plate must be sensitised just before use and developed as soon as possible. The violence of the contrasts, when the brightness of the snow juxtaposes the black of the rocks, redoubles this technical challenge. This conquest of the limit is crowned by the harmony of the print, carried by a site with spectacular aesthetic qualities.
This exhibition brings together black and white masterpieces from the photographic collections of the National Library of France. Nadar, Man Ray, Ansel Adams, Willy Ronis, Helmut Newton, Diane Arbus, Mario Giacomelli, Robert Frank, William Klein, Daido Moriyama, Valérie Belin…: the big names in French and international photography are brought together in a journey which presents approximately 300 prints and embraces 150 years of history of black and white photography, from its origins in the 19th century to contemporary creation.
Black and white is inseparable from the history of photography: its developments, from the end of the 19th century to today, have revealed its plastic force. While the use of colour intensified from the 1970s, black and white reinvented itself as a means of assertive aesthetic expression emphasising graphics and material. Black and white photography remains less expensive and simpler, but its persistence to this day can be explained above all by the fact that it has come to embody the very essence of photography. It appears to carry a universal, timeless, even memorial dimension, where colour would be the sole translation of the contemporary world.
The exhibition in brief
The exhibition addresses the question of black and white from an aesthetic, formal and sensitive angle, emphasising the modes of image creation: plastic and graphic effects of contrasts, play of shadows and lights, rendering of materials in all the palette of values from black to white. The emphasis was placed on photographers who concentrated and systematised their artistic creation in black and white, experimented with its possibilities and limits or made it the very subject of their photography such as Man Ray, Ansel Adams, Ralph Gibson, Mario Giacomelli or Valérie Belin. Particular attention was paid to the quality of the prints, the variety of techniques and photographic papers, but also to the printing of black and white, books and magazines having long been the main relay to the public for photographic creation .
The exhibition thus shows the richness and extent of the BnF’s photographic collections. Among the richest in the world with some six million prints, these are particularly representative of this abundant history of black and white photography.
Exhibition co-organised with the Réunion des Musées Nationaux – Grand Palais
Commissariat
Sylvie Aubenas, director of the Prints and Photography department, BnF Héloïse Conésa, head of the photography department, responsible for contemporary photography at the Department of Prints and Photography, BnF Flora Triebel, curator in charge of 19th century photography at the Department of Prints and Photography, BnF Dominique Versavel, curator in charge of modern photography at the Department of Prints and Photography, BnF
Text from the Bibliothèque nationale de France (BnF)
Hippolyte Blancard (French, 1843-1924) Mademoiselle L. Vulliemin, à mi-corps, la tête couverte d’un chapeau (Miss L. Vulliemin, half-length, head covered with a hat)
1889
Platinum print from a gelatin-silver bromide glass negative
BnF, Department of Prints and Photography, EO-508-PET FOL
Gift of print dealer Maurice Rousseau, 1944
Amateur photographer, wealthy pharmacist enriched by the sale of digestive pills, Blancard creates a prolific and picturesque work in a superb contrast of black and white thanks to the use of platinum. This expensive process, patented in 1873, ensures stable prints with marked contrasts which do not stifle the rendering of halftones.
Émile Zola (French, 1840-1902) Denise et Jacques, les enfants d’Émile Zola (Denise and Jacques, the children of Émile Zola)
1898 or 1899
Gelatin aristotype, gelatin aristotype on matte velvety paper with toning, cyanotype, silver print, gelatin aristotype toned with gold, collodion aristotype with toning
BnF, Department of Prints and Photography, NZ-214-8
Purchase at public sale, 2017
From 1894, the novelist devoted himself with passion to photography, in an intimate vein. Here he tests the effects of his shooting by varying the papers, the processes, the tones based on the same negative on a glass plate. We see that black and white is a monochromy among others (brown, orange, blue). Very few of these test prints created in the privacy of the photographer’s laboratory have reached us; the collection of these six prints is exceptional.
Frères Séeberger. Jules, Louis and Henri Séeberger (French, 1872-1932; 1874-1946; 1876-1956) Untitled
1909-1912
Silver print on baryta paper
BnF, Department of Prints and Photography, OA-38 (1)-BOITE FOL
Acquisition-donation from the family, 1976
Frères Séeberger. Jules, Louis and Henri Séeberger (French, 1872-1932; 1874-1946; 1876-1956) Untitled
1909-1912
Silver print on baryta paper
BnF, Department of Prints and Photography, OA-38 (1)-BOITE FOL
Acquisition-donation from the family, 1976
For almost half a century, the Séeberger brothers, specialising in fashion reporting, captured elegant women in their natural settings, racecourses, palaces, upscale beaches. The print on baryta paper, used here, marks a technical breakthrough. A layer of pure white barium sulfate is now interposed between the print support and the binder layer, where the image is formed. Manufactured industrially from the 1890s, chemically developed baryta papers and their characteristic cold tone would dominate silver production until the 1970s.
Frères Séeberger. Jules, Louis and Henri Séeberger (French, 1872-1932; 1874-1946; 1876-1956) Untitled
1909-1912
Silver print on baryta paper
BnF, Department of Prints and Photography, OA-38 (1)-BOITE FOL
Acquisition-donation from the family, 1976
In Black and White
Entirely designed from the Library’s rich collections, Black & White: An aesthetic of photography presents more than 300 works from the 19th century to the present day which bear witness to the use black and white from more than 200 photographers from around the world.
Considering black and white photographic creation from the 19th century to the most contemporary works, the exhibition presented at the François-Mitterrand affirms an ambition commensurate with the historical and geographical scope of the BnF’s collections and their immense variety technical and stylistic. The Department of Prints and photography has been a high place of conservation and emulation for monochrome photographic expression, under the impetus in particular of Jean-Claude Lemagny. Recently deceased, this very first curator of photography contemporary, in office from 1968 to 1996, was a fervent defender of black and white aesthetics.
In the 19th century, the powerlessness of photography to reproduce colours do not reduce it only to black and white and the tonal variations (blue, sepia, etc.) are in fact multiple. The exhibition opens with a spectacular monochrome of prints by Émile Zola, alongside luxurious prints by Gustave Le Gray, by Désiré Charnay and the Bisson brothers. It is at the turn of the 20th century that black and white became the tonality of photography par excellence, with the generalisation of the gelatin-silver bromide process.
An artistic and aesthetic approach
The rest of the journey deliberately interweaves creations of the 20th and 21st centuries, without chronological consideration. According to a primarily artistic and aesthetic approach to black and white, works of authors, decades, styles, schools and various origins interact, in order to highlight visual constants and graphics observable in use by black and white by photographers from 37 countries. That the photographers either suffered lack of colour or – from the 1950s-1970s – preferred to it, black and white is appreciated by artists for its numerous graphic, material and symbolic, which allow them to obtain certain effects features.
Write in black and white
These are these different ways of writing in black and white that the exhibition shows, starting with the contrasts: prints by Imogen Cunningham and André Kertész at the sculptural portraits of black women by Valérie Belin, in passing through the photograms of Man Ray, the books of William Klein or the fashion photographs of Helmut Newton, the contrast is deliberately sought by certain artists. By accentuating blacks and whites, or even making them disappear to any intermediate shade of grey, they bring out the essential lines of their subjects, retrace the design of the world,
gain visual and graphic expressiveness.
The play of shadows and light, at the origins of the photographic act, forms another part of the exhibition highlights. Bringing together the works of photographers as varied as Brassaï, Alexandre Rodtchenko, Henri CartierBresson, Willy Ronis, Flor Garduño, Daido Moriyama, Arthur Tress or Ann Mandelbaum, this part emphasises the dazzling effects or shadows cast, explored by these artists in their portrait practice, of the street snapshot, of the nocturnal shooting or in their laboratory experiments.
The exhibition continues with a chart of tests deployed in ribbon, from the blackest to the whitest. These prints signed Jun Shiraoka, Emmanuel Sougez, Edward Weston, Barbara Crane or Israel Ariño recall the ability of black and white to render effects of matter by its infinite variations of grey or, conversely, suggest the overflow or disappearance of all matter.
A sensory experience
The journey ends with a paradox with the works of photographers who, like Patrick Tosani, Marina Gadonneix or Laurent Cammal, disturbing the visitor’s perception by using colour processes to represent a black and white subject – an ultimate game with codes inherited from their art. Designed to show the historical depth and the richness of the BnF collections, this exhibition is intended to be educational and sensitive: emphasising certain technical aspects linked to printing practices, while insisting also on the irreducible material part of this art. By the high quality of prints presented, the exhibition offers to the public a sensory experience that will make them perceive the nuances hidden behind this apparently monolithic notion black and white.
Flora Triebel and Dominique Versavel. “En Noir et Blanc,” in Une saison en photographie, Chroniques No. 98, BnF, September – December 2023
Eugène Atget (French, 1857-1927) Parc de Sceaux, Duchess Alley
Between 1925 and 1927
Print on matte albumen paper from gelatin-bromide glass negative
BnF, Department of Prints and Photography, EO-109 (16)-BOITE FOL B
Eugène Atget claimed a humble, artisanal practice of photography. He used the same old camera and printing paper for decades. Only the disappearance of his usual supplies forced him to change. There is therefore no aesthetic research, yet these colour variations tell us a lot about the perception of the image.
The photographer artist can choose the colours of his prints by playing on the chemistry of the fixing baths or on the nature of the papers.
Gold toning, known since the 1850s, produces deep blacks but is very expensive. Baryta or platinum papers appeared at the end of the century and made it possible to further accentuate contrasts.
Gustave Le Gray (French, 1820-1884) Plage de Sainte-Adresse avec les bains Dumont (Sainte-Adresse beach with Dumont baths)
1856
Print on albumen paper from a collodion glass negative
31.3 x 41.3cm
Former Alfred Armand collection
BnF, Department of Prints and Photography, RESERVE FOL-EO-13 (3)
The strength of the blacks and whites, the variations of hues influence our perception of the image: the more contrasted it is, the more readable it is for our eye saturated with absolute blacks and whites; the more nuanced it is, the more sensitive the distance of time becomes.
Provenance
This article was designed as part of the exhibition “Black & White – An aesthetic of photography” presented at the BnF from October 17, 2023 to January 21, 2024.
The marines of Le Gray
Gustave Le Gray (1820-1884) is a central figure in 19th century photography. A contemporary of photographers like Nadar, Charles Nègre and Henri Le Secq, he began his career by training as a painter. With great mastery of photographic technique, he developed two major inventions, the collodion glass negative in 1850 and the dry wax paper negative in 1851.
Le Gray’s seascapes mark not only a milestone in the history of photography, but also its true intrusion into a pictorial genre characteristic of the English school. Fixing the movement of the waves while the snapshot is still stammering, combining two negatives, one for the sky and one for the sea, Le Gray plays like a virtuoso with a complex technique in the service of a lyrical vision, which prefigures marine studies by Courbet in the 1860s-1870s. The success was immense in France and England: these “enchanted paintings” were acquired by crowned heads, aristocrats, artists and art collectors.
Gustave Le Gray (French, 1820-1884) Vapeur (Steam)
1856-1857
Print on albumen paper from a collodion glass negative
31.3 x 37.2cm
BnF, Department of Prints and Photography, ESERVE FOL-EO-13 (3)
Gustave Le Gray (French, 1820-1884) Groupe de navires – Sète – Méditerranée – No. 10 (Group of ships – Sète – Mediterranean – No. 10)
1857
Print on albumen paper from a collodion glass negative
29.9 x 41.2cm
Former Alfred Armand collection
BnF, Department of Prints and Photography, RESERVE FOL-EO-13 (3)
Gustave Le Gray (French, 1820-1884) La Vague brisée. Mer Méditerranée No. 15 (The Broken Wave. Mediterranean Sea No. 15)
1857
Photograph, albumen paper, collodion glass negative
41.7 x 32.5cm
BnF, Department of Prints and Photography, RESERVE FOL-EO-13 (3)
Gustave Le Gray (French, 1820-1884) La Grande vague – Sète – N° 17 (The Great Wave)
1857
Photograph, albumen paper, collodion glass negative
35.7 x 41.9 cm
BnF, Department of Prints and Photography, RESERVE FOL-EO-13 (3)
Gustave Le Gray (French, 1820-1884) Flotte franco-anglaise en rade de Cherbourg (Franco-English fleet in Cherbourg harbour)
August 4-8, 1858
Print on albumen paper from a collodion glass negative
31 x 39.8cm
Former Alfred Armand collection
BnF, Department of Prints and Photography, RESERVE FOL-EO-13 (3)
Félix Nadar (French, 1820-1910) La Princesse Marie Cantacuzène (The Princesse Marie Cantacuzène)
around 1855-1860
Varnished salted paper print from a collodion glass negative
20.8 × 15.3cm
BnF, Department of Prints and Photography, EO-15 (2)-PET FOL
Nadar created two portraits of this classically beautiful young woman. It indicates on the back of one of the proofs that it is the Romanian princess, Marie Cantacuzène.
The portrait by Félix Nadar
Until the beginning of the 1880s, Félix Nadar’s portraits were distinguished by their neutral backgrounds.
The merit of Mr. Nadar’s portraits does not consist only in the skill of the pose, which is entirely artistic, there is a learned and reasoned arrangement of the light, which attenuates or increases the daylight depending on the character of the head. and the operator’s instinct. We also find in the printing of the proofs a delicate search for harmony and slightly faded tones which soften the edges of the contours with their darkness.
Félix Nadar (French, 1820-1910) Bakounine
About 1862
Silver print from the original negative on collodion glass
27.1 × 20.6cm
BnF, Department of Prints and Photography, EO-15 (4)-FOL
The revolutionary, philosopher and theoretician of socialism Mikhail Bakunin is one of the immense personalities that Nadar photographed during his career and offered to clients in his constantly enriched portrait gallery. We see here a print from 1862, contemporary with the shooting, but there is also a print made twenty years later and finally a print around 1900, brought up to date after heavy retouching. Thus until the end of the activity of the Nadar workshop, the oldest portraits of celebrities were always offered to customers.
Félix Nadar (French, 1820-1910) Jean Journet (1799-1861)
1857
Salted paper print from collodion glass negative
27.4 x 21.8cm
BnF, Department of Prints and Photography, EO-15 (9)-PET FOL
Jean Journet, nicknamed the Apostle, was a picturesque and eccentric Parisian figure, often ridiculed by his contemporaries. Former carbonaro, pharmacist in Limoux, he discovered the philosophy of Fourier and decided to spread his doctrine by abandoning his family and taking his pilgrim’s staff. His humanitarian evangelism, advocating fraternity and association, led him to write numerous pamphlets which he distributed in an untimely manner: by throwing them from “paradise” into theatres or by laying siege to famous writers and editorial offices. Interned several times in Bicêtre, Journet found upon his death a defender in Nadar who published an article in Le Figaro on October 27, 1861, concluding: “Ah my dear fools! that I love you much better than all these wise men.”
Nadar draws inspiration from Spanish painting from the Golden Age to render “this dazzling head of Saint Peter”.
Félix Nadar (French, 1820-1910) Charles Asselineau (1820-1874)
Between 1854 and 1870
Print on albumen paper from a collodion glass negative
23.8 x 18.1cm
BnF, Department of Prints and Photography, EO-15 (1)-PET FOL
Charles Asselineau is one of Nadar’s oldest friends. They became friends at the Collège Bourbon and were both close friends of Baudelaire. A fine scholar and supernumerary librarian at Mazarine, Charles Asselineau, author of, among other things, Paradis des gens de lettres and L’Enfer du Bibliophile, was close to the publisher Poulet-Malassis, nicknamed by Baudelaire “Coco-mal-perché”. He collaborated with Nadar on two short stories published in April and August 1846: “The Healed Dead” and “The Found Paradise”, reprinted in When I Was a Student. He belonged to the small circle of editors who documented the Pantheon-Nadar to which biographies of each character were originally to be annexed.
He was Nadar’s best man at his wedding… warned, however, two weeks after the ceremony. The groom explained this in a letter: “It’s quite funny that my first witness learned of my marriage 15 days after the consummation and through an announcement letter. This, my good friend, will be explained to you by me on our first trip. I will limit myself to telling you for the present that I went to your house the day before, a Sunday and that on Monday morning at noon time fixed for the ceremony I did not know at 11 o’clock if I was getting married.” (NAF 25007, fol. 8).
Alexandre Rodtchenko (Russian, 1891-1956) Jeune fille au Leica (Young girl with Leica)
1934
BnF, prints and photography
Piergiorgio Branzi (Italian, 1928-2022) Bar sur la plage, Adriatique (Beach bar, Adriatic)
1957
BnF, prints and photography
Willy Ronis (French, 1910-2009) Venise (Venice)
1959
BnF, prints and photography
A student of Harry Callahan and Aaron Siskind at the Institute of Design in Chicago, Metzker sublimates the formal particularities of this school through exceptional mastery black and white: he excels at stylising reality by constructing his images in direct opposition to dark and light flat areas.
Mario Giacomelli (Italian, 1925-2000) Je n’ai pas de main qui me caresse le visage (I have no Hands caress my face)
1961-1963
BnF, prints and photography
Daido Moriyama (Japanese, b. 1938) Portrait d’acteur (Actor portrait)
1968
From the series Japanese theatre
BnF, prints and photography
André Kertész (Hungarian, 1894-1985) 1er janvier 1972 à la Martinique (January 1, 1972 in Martinique)
1972
BnF, prints and photography
Bernard Plossu (French, b. 1945) Paris
1973
BnF, prints and photography
Mary Ellen Mark (American, 1940-2015) Immigrants, Istanbul, Turkey
c. 1977
BnF, prints and photography
Koichi Kurita (Japanese, b. 1962) Melting Snow on a Rock, Nagano, Japan
1988
BnF, prints and photography
Flor Garduño (Mexican, b. 1957) Canasta de Luz (Corbeille de lumière)(Basket of Light)
1989
BnF, prints and photography
Laurence Leblanc (French, b. 1967) Chéa, Cambodge (Chéa, Cambodia)
2000
From the series Rithy Chéa Kim Sour and the others
BnF, prints and photography
Bibliothèque François-Mitterrand
Quai François Mauriac, 75706 Paris Cedex 13 Phone: +33(0)1 53 79 59 59
Much as I love the grittiness and stark contrast of Japanese photography of the 1960-70s – its reaction against the pro-American optimism of The Family of Man exhibition that went to Tokyo in the 1950s, its rejection of journalistic illustration, its I-reality that is not a objective record but a personal story, “a poem composed in photography”, its spirit of ennui, a state of dissatisfaction with the status quo – there is also another, less edifying side to Japanese photography of this period.
Basically, it’s a male view of the world, any world, any reality, but always with the “I” at the front of it, the world of the male ego. A world where women are objectified, bound and gagged in pretty gruesome “erotic” sex scenes (not in this posting, but you can Google them online). No matter that the photographer had permission, these photographs are about male power and the male gaze. Nothing more, nothing less. A world where cameras pry on people having anonymous sex in the park in the dark. Let’s call it what it is, it’s misogynistic and voyeuristic.
The obverse of a concern for the sitter, or the landscape, or the object, can be observed (did you see what I did there… obverse / observe), in that there is a concern with the minutiae of life in extremis, rather than an empathy for it. Maybe that is the Japanese culture. Perhaps this microscopic analysis comes about because of the fast pace of their life, their mixture of state, religion, culture and capitalism, their violent history and the submissive place of women within that society (The traditional role of women in Japan has been defined as “three submissions”: young women submit to their fathers; married women submit to their husbands, and elderly women submit to their sons ~ Wikipedia)
There is something I cannot put my finger on about the power of the photograph to capture a dominance over women, the landscape, people, protests – a suppressed violence against the self?
I’m just thinking out loud here…
Dr Marcus Bunyan
Many thankx to the Museum der Moderne Salzburg for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
The collections of the Museum der Moderne Salzburg include an outstanding and sizeable ensemble of Japanese photographs from the 1960s and 1970s. These works will be on view for the first time in many years in a series of exhibitions. The opening presentation is dedicated to the depiction of humans and perceptions of postwar Japanese society in transformation. A future second exhibition will focus on images of city and countryside.
In the history of Japanese photography, the idea of the “I-photo” is a kind of photographic adaptation of the literary convention of first-person narrative. The photographic image is conceived and employed as a medium articulating the photographer’s self as well as an instrument with which to scrutinise reality. A pioneer of postwar photography, Masahisa Fukase in the late 1960s created photographic series mixing documentary and fictional elements. His central motifs and models were his wife Yoko and their family. Nobuyoshi Araki, the best-known, most prolific, and probably also most provocative Japanese photography artist, launched his career as a fashion and advertising photographer in 1963. The collection contains highly personal photographic notes by him and his wife Yoko, who died early. Fukase, Araki, and the other Japanese “I-photographers” such as Issei Suda, Shin Yanagisawa, and Daidõ Moriyama regard the “I-photo” as a blend of truth and falsification that can elicit an emotional response and disconcert. The aesthetic of the pictures is characterised by hard black-and-white contrasts and lacerated abstract structures. It signals the artists’ rejection of the tradition of classical art photography while also probing the potentials of the medium itself. The Japanese photography scene is highly controversial; the spectrum of themes ranges from erotic depictions of bodies to political statements.
Daidō Moriyama (Japanese, b. 1938) Untitled (l. a. r.) c. 1970 Lips from a Poster 1975 3 gelatin silver prints on Baryte paper Museum der Moderne Salzburg
Daidō Moriyama (Japanese, b. 1938) Stray Dog, Misawa (installation view at right) 1971 From the series Hunter Untitled c. 1970 9 gelatin silver prints on Baryte paper Museum der Moderne Salzburg
Daidō Moriyama is one of Japan’s leading contemporary photographers. He studied design and photography in Kōbe before moving to Tokyo in 1961 and deciding to focus entirely on photography. After a stint as Eikō Hosoe’s assistant, he went into business for himself as a photographer in 1964.
Like the art critic Kōji Taki and the photographers Yutaka Takanashi, Shōmei Tōmatsu, and Takuma Nakahira, Moriyama was a member of the group around the influential magazine Provoke (1968-1969). Although no more than three issues appeared in print, its importance in the history of the medium in Japan can hardly be overstated. The Provoke Manifesto declared that photography was capable of registering what could not be expressed in words. The visual style of the photographs Provoke would run was to be are-bure-boke, Japanese for “grainy, blurry, and out of focus” – a specification that still aptly describes Moriyama’s photographs; the same style is evident in his work for magazines such as Camera Mainichi, Asahi Journal, and Asahi Camera.
Moriyama’s inexhaustible signature theme is the city of Tokyo, but he has also worked elsewhere. In an interview, he once said: “For me cities are enormous bodies of people’s desire.” He still prowls the streets day after day, taking pictures of appealing or striking sights, never peering into his small compact camera’s viewfinder. Shots of traffic, of pedestrians and shop windows, of posters and details such as lips, eyes, or plants are recurrent motifs. Hard black-and-white contrasts lend his prints a strangely alien and otherworldly allure, but the depictions always remain anecdotal, as though from a dream. Moriyama’s photobooks may accordingly be read as photonovels of a sort. Japan A Photo Theater (1968) was the first book in this vein he published; his oeuvre has now grown to several hundred photobooks.
The Photographic Society of Japan, whose purpose is to promote photography in Japan, elected him its photographer of the year in 1983. In 2012, he received the Infinity Award for Lifetime Achievement of the International Center of Photography, New York, which honours outstanding accomplishments in photography and visual art.
Masahisa Fukase (Japanese, 1934-2012) Untitled 1971 From the series Yoko 9 gelatin silver prints on Baryte paper (Vintage prints) Museum der Moderne Salzburg
Masahisa Fukase completed a PhD at the Institute of Photography at Nihon University, Tokyo, in 1956. He worked as a photographer for advertising agencies and various publishing houses until 1968 and then as a freelance photographer until his death in 2012. His work was included in the 1974 group exhibition New Japanese Photography at the Museum of Modern Art, New York, followed by numerous solo and group shows all over the world. In 1976, he received the annual Ina Nobuo Award, which has been given out by the Nikon Salon in Tokyo since 1976. At the 1992 Higashikawa International Photo Festival, his exhibition Karasu (Ravens) earned him a Higashikawa Photography Award in the Special Award category.
In the 1960s, his photography is largely focused on his own life and that of his wife Yoko. She stars in pictures that show her in all sorts of situations in life, private as well as public. Fukase captures Yoko as his bride, in the nude, during sex, or as a tourist in the street. He is also interested in the passage of time and ageing in general. After separating from Yoko, Fukase started photographing ravens as symbols of loneliness and loss. The photobook Karasu (Ravens) became one of the most coveted works of its kind in postwar Japan; it was first reprinted just last year.
Bishin Jumonji (Japanese, b. 1947) Untitled 1971 3 gelatin silver prints on Baryte paper Museum der Moderne Salzburg
After studying at the Tokyo College of Photography, Bishin Jumonji became an assistant to the photographer Kishin Shinoyama, who had risen to renown with publications about Kabuki theater, erotic depictions in photography magazines, and work in unusual book formats such as flipbooks. Since 1971, Jumonji has worked both freelance and as an advertising photographer. This was also when he began to take pictures for the series on view, Untitled. Shot around Tokyo, the works portray families, day-trippers, a quartet of rock musicians, dancers, or bodybuilders – in short, representatives of modern Japan. The details are chosen so that the heads and faces do not appear in the prints. This underscores the subjective quality of photography as such while also conveying the anonymity of life in the megalopolis.
Otto Breicha had seen the series as early as 1974, when it was featured in New Japanese Photography, a group exhibition John Szarkowski organised at the MoMA in New York. Breicha decided to include it in Neue Fotografie aus Japan, the follow-up show he mounted in Graz in 1977.
In 1990, Jumonji receives the Domon Ken Award, one of the most important Japanese photography prizes. The work of the honourees is showcased at the Ginza Nikon Salon, Tokyo, and the Domon Ken Museum of Photography, Sakata, the first museum in Japan dedicated to photography. Some of Jumonji’s pictures are published in international magazines including the German newsweekly Stern.
Akihide Tamura (Japanese, b. 1947) Yokohama, 1966 (l.) Yokosuka, 1969 (r.) 7 gelatin silver prints on Baryte paper From the series Base Museum der Moderne Salzburg
Akihide Tamura studied at the Tokyo College of Photography and got his degree in 1967. Even before he graduated, the academy’s director, the photography critic Shigemori Koen, recognised his unusual approach. In 1974, the MoMA in New York featured Tamura’s House series in its group exhibition New Japanese Photography and acquired it for the museum’s collection. Taken over the course of a year – from July to July – the pictures show houses in abandoned landscapes. The alternation of day and night and the cycle of the seasons play a prominent part in the series.
Tamura’s life was defined by the wrenching changes Japan underwent after World War II. His work is an astute photographic record of these metamorphoses. For the series Base (1966-1970), he captured landscapes, people, and combat aircraft and other military planes at several American bases south of Tokyo. In retrospect, he wrote: “When I was a photography student, I knew that the military base existed in a territory that had been created due to the tensions between the United States and the Soviet Union and the possibility of a nuclear war. I was shaken by the incredibly beautiful and yet insane fighter jets before my eyes. The contradiction between my fear that the world would vanish in an instant if someone were to push the nuclear button and the exotic and eerie spell the military base cast over me left me perpetually torn.”
The works on view are part of the major cycle Erehwon – the title is the word “nowhere” read backwards – that Tamura worked on between 1967 and 1973. The series combines combat aircraft taking off and hurtling off into the sky, their engines a pair of glowing eyes, with ghostly portraits of children that gradually fade into the dark. The composition reflects the photographer’s mindset, a hard-to-pin-down blend of admiration and fear.
Diverse and controversial, sometimes mysterious and often at odds with stereotypical ideas about Japan: there is much to discover in Japanese photography from the 1960s and 1970s. The Museum der Moderne Salzburg now presents its extensive and singular collection in a two-part exhibition series.
For the first time in many years, the Museum der Moderne Salzburg puts its collection of c. 600 original prints of Japanese photography from the 1960s and 1970s, which was purchased in the museum’s early years, on display. The series of two shows begins with IPhoto. Japanese Photography 1960-1970 from the Collection, which presents works that focus on the depiction of the human being and the changes in postwar Japanese society.
“In this exhibition, my vigorous efforts to undertake a thorough review of our collections are bearing fruit, and so I am especially pleased that we are able to present our holdings of Japanese photography – a sizeable ensemble of outstanding works – which have not been seen by the public in a long time. The show also spotlights a chapter in the history of the museum, which started collecting and conserving photography early on. Otto Breicha, the museum’s first director, personally traveled to Japan to meet many of the artists and select works for the projected exhibition,” Sabine Breitwieser, Director of the Museum der Moderne Salzburg, observes. Curator of Photography and Media Art Christiane Kuhlmann emphasises that “this effort to champion Japanese culture and acquire Japanese art for the nascent collection constitutes a pioneering achievement.” “At the time, the primary media in which Japanese photographers presented their pictures were photobooks and magazines,” Kuhlmann notes, “so that vintage prints in the quality and form at our disposal are now hard or impossible to come by. Breicha’s initiative to build a centre for contemporary photography in Austria was in part motivated by his experiences in Japan.”
In the early 1960s, Japan enters a period of fast-paced economic growth, becoming a leading technology manufacturer. A quarter-century after the end of the war and the nuclear bombs over Hiroshima and Nagasaki, Japan hosts Expo’70, the first world’s fair to be held in an Asian country. Tokyo grows into an enormous megalopolis; construction on an international airport that will connect it to the entire world begins in 1971. These developments mark the definite end of the island nation’s decades-long isolation from the West, bringing rapid changes that affect Japanese society as well. In the 1960s, millions of Japanese citizens rally to protest against educational and land reforms and the security treaty with the former enemy, the United States of America. The Japanese photography scene devises a new and dynamic visual language that reflects the country’s more expansive self-image. Distinctive features include the reflection on perception, the quest for novel ways to express the self, and a revised definition of the photographic medium. Hard black-and-white contrasts and lacerated abstract structures are characteristic of the aesthetic of these pictures.
The idea of the “I-photo” is an adaptation of the term “I-novel,” which designates a genre of first-person narrative fiction in Japanese literature. Conceiving of themselves as authors, the photographers understand the “Iphoto” as the instrument of an exploration of reality. Japan’s photography scene is often highly controversial, with themes ranging from erotic depictions of bodies to political statements. Western observers are bound to find some pictures enigmatic and unsettling; they run counter to how Japan is generally imagined abroad. Yet it was Western art institutions that, in the 1970s, first included Japanese contemporary photography in their programming. Neue Fotografie aus Japan (New Photography from Japan) was the title of the first exhibition in Europe that Otto Breicha mounted in Graz in 1977; with I-Photo. Japanese Photography 1960-1970 from the Collection, the Museum der Moderne Salzburg brings back the exhibits from that historic show, though with different emphases. The presentation includes works by the photographers associated with the magazine Provoke (1968-1969) in which reality seems to be dismantled into its constituent elements, as well as by artists such as Nobuyoshi Araki and Masahisa Fukase who pursued their own highly individual creative agendas. Also on display are pictures by the members of the Kompora group, who sought to render a lucid and accurate portrait of everyday life in a clinical visual idiom.
Yoshihiro Tatsuki was born in 1937 in Tokushima, where his family had long run an established portrait studio. He studied at the Tokyo College of Photography (today’s Tokyo Polytechnic University) and graduated in 1958. Initially joining the advertising agency Adcenter in Tokyo as a photographer, Tatsuki went freelance in 1969, working for clients in the advertising, fashion, and publishing industries. In 1965, his series Just Friends and Fallen Angels, which had appeared in the photography magazine Camera Mainichi, earned him the emerging photographer’s award of the association of Japanese photography critics. The works garnered wide attention in Japan. Among his best-known creations are GIRL, EVES, Private Mariko Kaga, Aoi Toki, My America, and Portrait of Family.
Tatsuki has long focused on nude photography, combining traditional Japanese compositional templates with the characteristic poses of Western models. It is hard to tell whether he wants to debunk or cater to the – primarily Western – fantasy of the Geisha as concubine.
Nobuyoshi Araki (Japanese, b. 1940) Untitled 1971 From the series Sentimental Journey 7 gelatin silver prints on Baryte paper Museum der Moderne Salzburg
Nobuyoshi Araki studied photography and film studies at Chiba University from 1959 until 1963. After completing his degree, he joined an advertising agency; in the spare time left by his work as a commercial photographer, he started developing his own photographic ideas.
1970, the artist declared, would be “The First Year of Araki.” Increasingly dissatisfied with the status quo that prevailed in established photography, he launched a variety of creative experiments. The popular photography that dominated the market in Japan at the time, he thought, traded in illusions and dishonesty, and so he proposed to change the situation and create a new kind of photography that would reveal the true face of a society undergoing rapid change.
In 1971, he was married to Yoko. His documentation of their honeymoon was published as the small photobook Sentimental Journey. The travelogue – several pictures from it are in the Museum der Moderne Salzburg’s collection – opens with a portrait of Yoko on the train. The title and this picture are a reference to Doris Day’s 1945 worldwide hit. The series continues with shots of places, sights, and, again and again, pictures of Yoko, in the street, nude, or having sex. As Araki sees it, the book is a new form of reportage about life. Taking photographs and living, to his mind, are synonymous. In a statement accompanying Sentimental Journey, he writes: “The I-novel comes closer to photography.” The title of our exhibition, I-Photo, alludes to this Japanese literary genre, in which the author’s experiences, rendered in as much realistic detail as possible, form the material out of which a fictional story is wrought.
In 1992, Camera Austria, Graz, hosted Araki’s first solo exhibition in Europe. He is famous for his widely debated photographs of erotic bondage, but also for his photobooks, which now number almost six hundred.
Takashi (Lyu) Hanabusa was born in Osaka in 1949. After graduating from the Kuwasawa Design School, Tokyo, he joined the staff of the publishing house that produced the magazine Nippon Camera. In 1971, he became an assistant to the photographer Yutaka Takanashi, whose well-known series Tôshi-e (Towards the City) surveyed Tokyo as the Japanese began to embrace modern metropolitan life.
Hanabusa’s works build on this influence, documenting the city as a mysterious place defined by jarring contrasts between tradition and modernity, high tech and nature. His photographs are marked by deliberately ambiguous particulars, as when faces are obscured by shadows. The shots are framed so as to render bodies in fragments or bring out details in classic Japanese fabric patterns that European beholders cannot place.
Hanabusa has been a freelance photographer and member of the Japan Professional Photographers Society since 1973.
Masaaki Nakagawa completed his studies of Japanese literature at Kōnan University, Kōbe, in 1966. He then worked for various advertising agencies and created fashion shots and reportages for magazines. From 1969 until his death in 2005, he was a freelance photographer in Tokyo and taught at the Kuwasawa Design School.
Otto Breicha described Nakagawa as a storyteller and compared him to the American photographer Duane Michals, whose notion that “things are queer” seems to inform his Japanese colleague’s work as well. Created in series, Nakagawa’s sequences of pictures, rather than aiming for an obvious punch line, appear to move in circles. In the series Self-Portrait against Wall of My Home, the photographer’s shadow looms on the wall, as do things the title identifies as his possessions. Yet the pictures remain vague, almost ghostly, and it is not clear what the focus is on. In this respect, Nakagawa joins the ranks of those conceptual photographers who employ photography as a tool of pictorial analysis, scrutinising the medium’s intrinsic technical-visual potential.
Masaaki Nakagawa was one of the photographers who assisted Otto Breicha during his research in Japan in preparation for the exhibition Neue Fotografie aus Japan.
Issei Suda was trained at the Tokyo College of Photography, from which he graduated in 1962. From 1967 until 1970, he worked as a stage photographer for the avant-garde theater ensemble Tenjō Sajiki, which was led by the writer and filmmaker Shūji Terayama.
In the late 1960s, Suda and others opposed to the style championed by the magazine Provoke founded the group Kompora. The label is a typical Japanese compound, a contraction of the English terms “contemporary” and “photography.” The group’s key point of reference was Contemporary Photographers: Toward a Social Landscape, an exhibition held at the George Eastman House in Rochester, N.Y., in 1966. Their goal was to create lucid and accurate portrayals of everyday life in a clinical visual idiom. Despite the aspiration to cool objectivity, however, some of their pictures strike Western beholders as no less enigmatic and unsettling.
That is certainly the impression one gets from the works we present, a selection from the series Fûshi Kaden (1975-1976), which was published as a photobook – Suda’s first – by Asahi Sonorama in 1978. The series proposes a visual discourse on tradition and modernity. The enormous tension between Japan’s hyper-modern cities and the deep-rooted traditions lingering in rural areas is a theme that preoccupies Suda throughout his life. For Fûshi Kaden, he crisscrossed the country; many pictures were taken at the traditional festivals known as matsuri. The title is difficult to translate. It is a tribute to a theoretical disquisition on Nō theater penned in the early fifteenth century by one of its leading practitioners, the grand master Zeami Motokiyo. Sketching his vision of the beauty and style of drama, the author compares it to a flower that has not yet fully blossomed. But he also examines questions of inward perception and outward expression in theatrical performance. Issei Suda translates this vision into his mode of photography. The figures in his pictures sometimes seem to be involved in some kind of stage action and yet utterly unaware of it, as though only the photographer knew the director’s script.
Suda was a professor at the Osaka University of Arts and received the Domon Ken Award in 1997.
Shin Yanagisawa, who was born in Tokyo in 1936, was a member of the eminent generation of Japanese photographers who, in the 1960s and 1970s, saw contemporary life in their country with fresh eyes, discovering themes for photography that still inform how we imagine Japan between tradition and modernity. Yanagisawa studied at the Tokyo College of Photography in Shibuya and then worked as a freelance photographer.
He was interested in the changing face of the landscape and the raw reality of nature as well as the many facets of life in the big city. The series Traces of the City (1965-1970) reflects the worldview of an entire generation; as early as 1979, it was the subject of a solo presentation in Tokyo. Yanagisawa also contributed work to numerous group shows, including the famous 15 Photographers Exhibition at the Tokyo National Museum of Modern Art (1974), which featured work by Daidō Moriyama und Yutaka Takanashi as well.
The shots we present are a selection from the series In the Street (1972) and show a group of dancers and performers in costumes that would seem to fit in seamlessly with our vision of traditional Japanese culture. Upon closer inspection, however, dissonant notes creep in, especially when individuals turn to face the camera directly or a flashlight illuminates the situation. They reveal Yanagisawa’s presence as the photographer or, more properly, author of the picture. He has abandoned the position of the uninvolved observer, and although he is not visible in the picture as such, he becomes an active participant in the action before the camera. This approach may be regarded as characteristic of the principle of I-photography.
After concluding his active career as a photographer, Shin Yanagisawa wrote about various aspects of photography.
A grandson of the Japanese painter Kawai Gyokudō, Shunji Ōkura graduated from Dokkyo High School, Tokyo, in 1956. In 1958, he became an assistant to the photographer Akira Satō while also starting out as a freelance photographer, creating fashion shots for the magazines Fukuso, Wakai Josei, and So-en. Numerous photographs appeared in periodicals such as Camera Mainici, Hanashin No Tokushu, and Sunday Mainichi.
In the photographs in the Museum der Moderne Salzburg’s collection, Ōkura devotes himself to a classic subject of photography: the children’s portrait. These are situation-bound snapshots taken a playground; no posing was involved. It is interesting to note how the photographer embraces the way children see the world. Some parts of the scene are invisible in the low-angle shots or obscured by other objects, while Ōkura’s portraits suggest profound empathy; we feel we get a sense of these children’s fears and anxieties.
Museum der Moderne Salzburg Mönchsberg 32 5020 Salzburg Phone: +43 662 842220
Exhibition dates: 30th September – 12th November, 2017
Curators: Naomi Cass and Pippa Milne
Living artists include: Laurence Aberhart, Brook Andrew, Rushdi Anwar, Warwick Baker, Paul Batt, Robert Billington, Christian Boltanski, Pat Brassington, Jane Brown, Daniel Bushaway, Sophie Calle, Murray Cammick, Christian Capurro, Steve Carr, Mohini Chandra, Miriam Charlie, Maree Clarke, Michael Cook, Bill Culbert, Christopher Day, Luc Delahaye, Ian Dodd, William Eggleston, Joyce Evans, Cherine Fahd, Fiona Foley, Juno Gemes, Simryn Gill, John Gollings, Helen Grace, Janina Green, Andy Guérif, Siri Hayes, Andrew Hazewinkel, Lisa Hilli, Eliza Hutchison, Therese Keogh, Leah King-Smith, Katrin Koenning, O Philip Korczynski, Mac Lawrence, Kirsten Lyttle, Jack Mannix, Jesse Marlow, Georgie Mattingley, Tracey Moffatt, Daido Moriyama, Harry Nankin, Jan Nelson, Phuong Ngo.
Historic photographers: Hippolyte Bayard (French, 1801-1887), Charles Bayliss (Australian born England, 1850-1897), Bernd and Hilla Becher (German; Bernd Becher 1931-2007, Hilla Becher 1934-2015), Lisa Bellear (Australian / Goernpil, 1962-2006), James E. Bray (Australian, 1832-1891), Jeff Carter (Australian, 1928-2010), Harold Cazneaux (Australian, 1878-1953), Olive Cotton (Australian, 1911-2003), Peter Dombrovskis (Australian, 1995-1996), Max Dupain (Australian, 1911-1992), Joyce Evans (Australian, 1929-2019), Walker Evans (American, 1903-1975), Sue Ford (Australian, 1943-2009), Marti Friedlander (New Zealand born Britain, 1928-2016), Kate Gollings (Australian, 1943-2017), André Kertész (Hungarian, 1894-1985), J. W. Lindt (Australian born Germany, 1845-1926), W. H. Moffitt (Australian, 1888-1948), David Moore (Australian, 1927-2003), Michael Riley (Australian / Wiradjuri/Kamilaroi, 1960-2004), Robert Rooney (Australian, 1937-2017), Joe Rosenthal (American, 1911-2006), Mark Strizic (Australian, 1928 -2012), Ingeborg Tyssen (Australian, 1945-2002), Aby Warburg (German, 1866-1929), Charles Woolley (Australian, 1834-1922).
(1) J W Lindt (Australian, 1845-1926) Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880 Courtesy State Library Victoria, Pictures Collection
Thought to be the first press photograph in Australia, this shows Joe Byrne, a member of the Kelly Gang, strung up for documentation days after his death, which followed the siege at Glenrowan. Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Lindt’s photograph captures not only the spectacle of Byrne’s body but the contingent of documentarians who arrived from Melbourne to record and widely disseminate the event for public edification.
Double take
I was a curatorial interlocutor for this exhibition so it was very interesting to see this exhibition in the flesh.
An unorthodox flow of images is a strong exhibition, splendidly brought to fruition by curators Naomi Cass and Pippa Milne at the Centre for Contemporary Photography (CCP), Melbourne. To be able to bring so many themes, images, ideas and people together through a network of enabling, and a network of images, is an impressive achievement.
The exhibition explores the notion of connectivity between images in our media saturated world – across context, time and space. “With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.” While the viewer makes their own flows through the works on view, they must interpret the interpolation of images (much like a remark interjected in a conversation) in order to understand their underlying patterns of connection. Like Deleuze and Guattari’s horizontal rhizome theory1 – where the viewer is offered a new way of seeing: that of infinite plateaus, nomadic thought and multiple choices – here the relationship between the photograph and its beholder as a confrontation between self and other, and the dynamic relation between time, subjectivity, memory and loss is investigated … with the viewer becoming an intermediary in an endless flow of non-hierarchical images/consciousness.
In this throng of dialects, the exhibition meanders through different “sections” which are undefined in terms of their beginning and end. The starting point for this flow is the public demonstration of trauma for the edification of society (the photographs of the aftermath of the siege of Ned Kelly and his gang at Glenrowan), notably what is thought to be the first press photograph in Australia, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above), and the flow then gathers its associations through concepts such as studio work, the gaze, disruption, truth, performance and traces, to name just a few. The exhibition ceaselessly establishes connections between semiotic chains, organisations of power and contextual circumstances, moving forward and backwards in time and space, jumping across the gallery walls, linking any point to any point if the beholder so desires. In this sense (that of an expanded way of thinking laterally to create a democracy of sight and understanding), the exhibition succeeds in fostering connections, offering multiple entryways into the flow of images that proposes a new cultural norm.
For Deleuze and Guattari these assemblages (of images in this case), “… are the processes by which various configurations of linked components function in an intersection with each other, a process that can be both productive and disruptive. Any such process involves a territorialization; there is a double movement where something accumulates meanings (re-territorialization), but does so co-extensively with a de-territorialization where the same thing is disinvested of meanings.”2 Now here’s the rub (or the trade-off if you like) of this exhibition, for everything in life is a trade-off: the accumulation of new meaning that such a flow of images creates is balanced by what has been lost. Both an accumulation and disinvestment of meaning.
I have a feeling that in such a flow of images the emotion and presence of the subject has been lost, subsumed into a networked, hypermedia flow where, “images become more and more layered until they are architectural in design, until their relationship to the context from which they have grown cannot be talked about through the simple models offered by referentiality, or by attributions of cause and effect.”3 The linear perspective developed during the Renaissance and its attendant evidence of truth / objective reality (the logic of immediacy) is disrupted. It is no longer about being there, about the desire for presence, but about a logic of hypermediacy that privileges fragmentation, process, and performance. Of course, immediacy / hypermediacy are part of a whole and are not exclusionary to each other. But here contemporary art, and in particular contemporary photography, keeps coming back to the surface, redefining conceptual and aesthetic spaces.
This is where I was plainly unmoved by the whole exhibition. Conceptually and intellectually the exhibition is very strong but sequentially and, more importantly, emotionally – the flow of images failed to engage me. The dissociative association proposed – like a dissociative identity disorder – ultimately becomes a form of ill/literation, in which the images seem drained of their passion, a degenerative illness in which all images loose their presence and power. In a media saturated world what does it mean to pluck these images from a variable spatio-temporal dimensionality and sequence them together and hope they give meaning to each other? Ultimately, it’s a mental exercise of identity organisation that is pure construct.
Further, this (re)iteration is a repetition that is supposed to bring you successively closer to the solution of a problem: what is the relevance of the stream of image consciousness in contemporary society? What happens to the referentiality and presence of the individual image?
With this in mind, let us return to the first image in the flow of images, J W Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (1880, above). Here Byrne is displayed for an unknown photographer and the painter Julian Ashton who is standing to the left with possibly a sketchbook under his arm. Amongst other things, the image is by a photographer taking a photograph of another photographer taking a photograph of the body of Joe Byrne. Immediately, the triangular relationship of camera / subject / viewer (cause and effect) is disrupted with the addition of the second photographer. There is a doubling of space and time within this one image, as we imagine the image the photographer in the photograph would have taken. And then we can see two variations of that internal photograph: Photographer unknown Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (below) and William J. Burman’s Joe Byrne’s Body, Benalla Gaol, 29 June 1880 (1880, below) which 1/ appears to solve who the “photographer unknown” is (unless Burman purchase the rights to use another’s photographers’ negatives); and 2/ is a more tightly framed image than the first iteration. If you look at the top of the head in the second image the hair goes over the metal hinge of the door behind… so the photographer (the same one) has moved closer and dropped the height of the camera, so that the camera looks up more, at the body.
Other details fascinate. The ring on the left finger of Joe Byrne; his stripped shirt; the rope under his arms used to help support his weight; the rope disappearing out of picture to help string him up; and questions such as, how did they get his left hand to stay in that position? This is also, “an image of an audience as much as a portrait of the deceased … Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.” To the left we have what is presumably the photographers’ coat hung on a tree; a man wiping his nose with his thumb; and Aboriginal man; and a boy looking at the camera. Through his silhouette the Aboriginal man can probably be identified as Tracker Johnny, one of five trackers who helped track Ned Kelly, and we can see a portrait of him in an albumen photograph held by the Queensland Police Museum (1880, below). A picture of the ‘Other’, both outsiders, the outlaw and the Aboriginal, detailing the social order. The blurred image of the boy looking at the camera shows the length of the time exposure for the glass plate, but it is his “Janus-faced” visage that I am fascinated with… as he both looks forwards and backwards in time. Whilst most images within An unorthodox flow of images are conceptually grounded, they also evidence only one direct meaning in relationship to themselves within that network, “each one connected to those on either side,” – from point to point to point. Conversely, in this image the interpretation is open-ended, WITHIN THE ONE IMAGE. It is a network all of its own. I also remember, emotionally, the other images of the burnt out Glenrowan Inn, the place where the rails were taken up (I was there!), the bodies in the coffins, the preparation for the photograph of the Kelly Gang Armour laid out in a muddy field for documentation, and the burnt to a cinder, charred remains rescued from the ashes of the Glenrowan Inn laid out on a piece of wood. There is a physicality to these photographs, and an emotional charge, that no other photograph in this exhibition matches. I think, then, not of Joe Bryne’s lifeless body and its/the photographs morbidity, but of him as a younger man – standing legs crossed, one hand on hip, the other resting on the surface of a table, imagining his touch on that table in reality – a son, an outlaw, a living being.
I wish the curators had been braver. I wish that they had given these images more chance to breathe. I wish they had cut the number of images and sequenced them so that the space between them (what Minor White calls ice/fire, that frisson of space between two images that adds to their juxtaposed meaning) provided opportunity for a more emotional engagement with what was being presented. Yes, this is a strong exhibition but it could have been so much more powerful if the flow had not just meandered through the sentence, but cried out, and declaimed, and was quiet. Where was the punctum? Where was the life blood of the party, if only disappearing in a contiguous flow of images.
Dr Marcus Bunyan
Word count: 1,642
Footnotes
1/ Deleuze, Gilles and Guattari, Felix. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis and London: University of Minneapolis Press, 1987
2/ Wood, Aylish. “Fresh Kill: Information technologies as sites of resistance,” in Munt, Sally (ed.,). Technospaces: Inside the New Media. London: Continuum, 2001, p. 166
3/ Burnett, Ron. Cultures of Vision: Images, Media, & the Imaginary. Bloomington: Indiana University Press, 1995, pp. 137-138.
Many thankx to the CCP for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. The numbers in brackets refer to the number of the image in the field guide. The text is taken from the field guide to the exhibition [Online] Cited 01/11/2017. No longer available online.
J W Lindt (Australian, 1845-1926) Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla (details) 1880 Courtesy State Library Victoria, Pictures Collection
An unorthodox flow of images commences with what is known as the first press photograph in Australia and unfurls through historic, press, portraiture, popular and art photography, some in their intended material form and others as reproductions. An unbroken thread connects this line of still and moving images, each tied to those on either side through visual, conceptual, temporal, material or circumstantial links.
This is a proposition about photography now. Relationships between images are sometimes real, and sometimes promiscuous. Unorthodox brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.
This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880(above)
William J. Burman (Australian born England, 1814-1890) Joe Byrne’s Body, Benalla Gaol, 29 June 1880 1880 At 209 Bourke Street, East Melbourne 1878-1888 Albumen carte de visite 6.5 × 10.5cm
This image appears to the one of the images taken by the photographer in J. W. Lindt’s Body of Joe Byrne, member of the Kelly Gang, hung up for photography, Benalla 1880.
Unknown photographer Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly] (detail, not in exhibition) c. 1880 Albumen photograph Queensland Police Museum Non-commercial – Share Alike (cc)
“As objects of contemplation, images of the atrocious can answer to several different needs. To steel oneself against weakness. To make oneself more numb. To acknowledge the existence of the incorrigible.”
~ Susan Sontag, Regarding the Pain of Others (2003)
In her comments on a related photograph by Bray, Helen Ennis writes, “What you see pictured, presumably as part of the official documentation are the thoroughly blackened remains of either Dan Kelly or Steve Hart… Relatives raked what remained of the bodies… from the ashes of the Glenrowan Inn. These were then photographed before family members took them home on horseback and buried them. … [These photographs] also underscore the brutality and barbarism of the post-mortem photographs – the violence physically enacted on the body in the first instance and then visually in terms of the photographic representation.”
Helen Ennis. “Portraiture in extremis” in Photogenic Essays / Photography / CCP 2000-2004, Daniel Palmer (ed.), 2005, CCP, pp. 23-39, p. 34
W. E. (William Edward) Barnes (Australian, 1841-1916) Steve Hart (1859-1880) (not in exhibition) c. 1878 Albumen carte de visite State Library of Victoria
(9) Piero della Francesca (Italian, 1415-1492) Flagellation of Christ 1455-1460 Oil and tempera on wood, reproduced as digital print on wallpaper 58.4 × 81.5 cm, reproduced at 20 × 30 cm
The meaning of della Francesca’s Flagellation and exact identity of the three foreground figures in fifteenth century dress, is widely contested. In the context of this flow of images, the painting represents the pubic display of suffering as punishment, for the edification of society. In both J.W. Lindt’s documentary photograph and the possibly allegorical Flagellation, the broken body of Joe Byrne and that of Christ are isolated from other figures and subject of conversation and debate by gathered figures. Other formal similarities include framing of the tableau into shallow and deep space the organising role of architecture in signifying the key subject.
(10) Joosep Martinson Police Hostage Situation Developing at the Lindt Café in Sydney 2014 Digital print on wallpaper 20 × 30cm
The scene outside the Lindt Cafe siege, caught by the photojournalist in a moment of public trauma. This bears formal resemblance to J.W. Lindt’s photograph of Joe Byrne, and even further back to Piero della Francesca.
(13) Tracey Moffatt (Australian, b. 1960) I made a camera 2003 photolithograph 38 × 43cm, edition 201 of 750 Private collection
Returning to J.W. Lindt’s photograph in particular the hooded central figure photographing Joe Byrne – Tracey Moffatt’s picturing of children role-playing calls to mind the colonial photographer’s anthropological gesture.
(14) Siri Hayes (Australian, b. 1977) In the far reaches of the familiar 2011 C-type print 88 × 70 cm, exhibition print Courtesy the artist
The photographer’s hood is the photographer.
(15) Janina Green (Australian born Germany, b. 1944) Self Portrait 1996 Digital version of a hand-coloured work in early Photoshop 44 × 60cm Courtesy the artist and M.33, Melbourne
(16) Georgie Mattingly Portrait IV (After Arthroplasty) 2016 Hand-tinted silver gelatin print 36 × 26cm Unique hand print Courtesy the artist
The photographer’s hood has become a meat-worker’s protective gear, tenderly hand-coloured. [And spattered with blood ~ Marcus]
(17) Lisa Hilli (Makurategete Vunatarai (clan) Gunantuna / Tolai People, Papua New Guinea) In a Bind 2015 Pigment print on cotton rag 76 × 51.5cm Courtesy the artist
‘The woven material that hoods the artist’s identity is a reference to collected Pacific artefacts, which are usually of a practical nature. Magimagi is a plaited coconut fibre used for reinforcing architectural structures and body adornment within the Pacific. Here it emphasises the artist’s feeling of being bound by derogatory Western and anthropological labels used by museums and the erasure of Pacific bodies and narratives within public displays of Pacific materiality.’ ~ Lisa Hilli 2017, in an email to the curator
In an era of ‘tumbling’ images, An unorthodox flow of images presents visual culture in a novel way: commencing with Australia’s first press photograph, 150 images unfurl in flowing, a-historical sequences throughout the gallery. Each work is connected to the one before through formal, conceptual or material links.
An unorthodox flow of images draws upon the photographic image in its many forms, from significant historical photographs by major Australian artists, such as J.W. Lindt, Olive Cotton and Max Dupain, through to contemporary international and Australian artists, such as Tracey Moffatt, Michael Parekowhai, Christian Boltanski and Daido Moriyama. This exhibition brings early career artists into the flow, including Georgie Mattingley, Jack Mannix and James Tylor.
Celebrating the breadth of photographic technologies from analogue through to digital, including hand made prints, a hand-held stereoscope, early use of Photoshop, iPhone videos and holography, An unorthodox flow of images propels the viewer through a novel encounter with technology, art, and the act of looking. Rather than a definitive narrative, this exhibition is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. Contemporary culture necessitates quick, networked visual literacy. So viewers are invited to make their own readings of this unorthodox flow.
Akin to how images are experienced in our personal lives and perhaps to how artists are influenced by the multiverse of photography, this extraordinary gathering also includes spirited incursions from other kinds of images – rare prints of grizzly 19th century photojournalism abuts contemporary video first shared on Instagram, and surrealist French cinema nestles in with Australian image-makers.
This exhibition aims to bring new contexts to existing artworks to highlight networked image-viewing behaviour, whilst honouring the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space. An unorthodox flow of images is presented as part of the 2017 Melbourne Festival.
Press release from the CCP
(30)Siri Hayes (Australian, b. 1977) Plein air explorers 2008 C-type print 108 × 135cm, edition 4 of 6 Collection of Jason Smith
An artist’s studio in the landscape.
(31) Robyn Stacey (Australian, b. 1952) Wendy and Brett Whiteley’s Library 2016 From the series Dark Wonder C-type print 110 × 159cm, edition of 5 + 3 artist proofs Courtesy the artist and Jan Manton Gallery, Brisbane
The landscape brought into the studio by a camera obscura. Robyn Stacey captures the perfect moment of light and clarity, in this instance, also turning the egg-object into an orb of light.
(37) Pat Brassington (Australian, b. 1942) Vedette 2015 Pigment print 75 × 60cm, edition of 8, Courtesy the artist and ARC ONE Gallery, Melbourne and Bett Gallery, Hobart
Two orbs, a positive and a negative space.
(38) Anne Noble (New Zealand, b. 1954) Ruby’s Room 10 1998-2004 Courtesy the artist and Two Rooms Gallery Auckland
(43) Leah King-Smith (Australian / Bigambul, b. 1957) Untitled #3 1991 From the series Patterns of connection C-type print 102 × 102cm, edition 6 of 25 Private collection
‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the other. I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ ~ L King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7. In this series, the artist superimposes the colonial portrait onto images of the subject’s own landscape, returning the dispossessed to country.
Unorthodox: a field guide
We could have started anywhere. Perhaps every image ever made connects with another image in some way. But, we have begun with what is known as the first press photograph in Australia – a grisly depiction of Kelly Gang member Joe Byrne, strung up some days after his execution, for a group of onlookers, including a group of documentarians who came in by train to record the event: a painter and several photographers. This is an image of an audience as much as a portrait of the deceased. A hooded photographer bends to his tripod, and a painter waits in line. Perhaps a seminal moment between competing technologies of record, magnificently captured by colonial photographer, J. W. Lindt (1845-1926): this is as decisive a moment as current technology permitted. Members of the public are also documented; children, men – trackers perhaps, bearing witness to the public display of retribution that was intended to restore social order.
From here, Unorthodox draws a thread of images together, each one connected to those on either side, whether through visual, conceptual, temporal, material or circumstantial ties, or by something even more diffuse and smoky – some images just conjure others, without a concrete reason for their bond. Spanning the entire gallery space, nearly 150 images unfurl with links that move through historic, press, portraiture, popular and art photography.
You are invited to wander through CCPs nautilus galleries, and make what you will of this flow because unlike a chain of custody, there is no singular narrative or forensic link: you are invited to explore not just connections between works but to see individual works in a new light.
At the core of this exhibition is an attempt to lay bare the way that images inform and seep into everyday life, underpinning the way that we see, interpret and understand the world. With a nod to networked image viewing behaviour and image sharing – in one long line – the flow also impersonates the form of a sentence.
The act of looking. Looking is a process, informed by context – where and when we see something, and what surrounds it. Here, images are unbuckled from their original context, indeed there are no museum labels on the wall. But this is often the way when viewing images on the internet, or reproduced in books, referenced in ads, reenacted in fashion shoots, or reinterpreted by artists. The notion of reproductions within photography is slippery, made more so by the rapid circulation of images whereby we sometimes only know certain originals through their reproductions. In this exhibition, sometimes we have the original images, at others we proffer ‘reproductions’, setting out a swathe of contemporary and historical approaches to the craft of photography and video, unhampered by traditional constraints of what we can or cannot show within a non-collecting contemporary art space.
This exhibition moves through a number of notional chapters, for example visual connections can be made between orbs made by soap bubbles (no. 32, 34) and moons (no. 33); eyes (no. 40, 41, 42), gaping mouths (no. 37), the balletic body in space (no. 45); and light from orbs (no. 44, 46) and then moonlight on the ocean (no. 47), which tumbles into salty connections, with photographs exposed by the light of the moon through seawater (no. 48) connecting to an image of salt mines (no. 50), and on to salt prints (no. 51).
We have been influenced by observing how audiences view exhibitions, traversing the space, seemingly drawing connections, making their own flows through works on view. In spite of its indexicality to the world, photography is particularly open to multiple readings due to its reproducibility and its vulnerability to manipulation. A key to this permeability is the intention of the photographer, which can become opaque over time. For example, installation artist Christian Boltanski’s found photograph (no. 137) has been taken out of its time and context so as to mean something quite different from what the photographer intended.
Importantly, due to their multiple readings, many works could be equally effective if placed in other sections of the exhibition. For example, of the many places to position Leah King-Smith’s Untitled #3 (no. 43), we have elected to locate it amongst compositions that include orbs. However, it is also a staged work; a constructed or collaged photograph; it embodies an Indigenous artist returning the colonial gaze and, due to the age of her source photograph, it represents a deceased person. And, in her own words King-Smith is responding to the trauma of settlement. ‘I was thus wrestling with anger, resentment, powerlessness… while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’
A curious process indeed, we have been open to many repositories of images while gathering this flow – from our work with artists at CCP; to childhood memories of images and personal encounters with photography and video; to our trawling of the Internet and books; as well as conversations with writers, artists and collectors. From these stores, we have also considered which works were available in their material form, as opposed to reproductions on wallpaper, postcards and record covers. While we exhibit a broad timespan and multiple technologies, our primary desire as a contemporary art space is to create new contexts for the exhibition of contemporary photography and video.
Unorthodox is a proposition about relationships between images: sometimes real and sometimes promiscuous, and is inevitably open to alternative readings. It brings new contexts to existing artworks whilst celebrating the materiality of real photographs, in real time and critically, honouring the shared democratic experience of the public gallery space.
Naomi Cass and Pippa Milne
(62) Brook Andrew (Australian, b. 1970) I Split Your Gaze 1997, printed 2005 Silver gelatin print 160 × 127cm Private collection Courtesy the artist and Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels
(63) Brassaï (French, 1899-1984) Young couple wearing a two-in-one suit at Bal De La Montagne Saint-Genevieve c. 1931 Gelatin silver print Reproduced as digital print on wallpaper 23.2 × 15.9cm, reproduced at 24.5 × 19cm
(64) William Yang (Australian, b. 1943) Alter Ego 2000 from the series Self Portraits Inkjet print, edition 2 of 30 68 × 88cm Courtesy the artist
(65) Sue Ford (Australian, 1943-2009) Lyn and Carol 1961 Silver gelatin print, edition 3 of 5 44 × 38cm Courtesy Sue Ford Archive
(76) Harold Cazneaux (Australian, 1878-1953) Spirit of Endurance 1937 Silver gelatin print 16.8 × 20.4cm Private collection
In the following two works, a critical change of title by the artist reveals what, alone, the eye cannot see. This photograph had already achieved iconic status as a symbol of the noble Australian landscape when, following the loss of his son who died aged 21 at Tobruk in 1941, Cazneaux flipped the negative and presented the image under the new title Spirit of Endurance. The tree is now classified on the National Trust of South Australia’s Register of Significant Trees.
(77) Jeff Carter (Australian, 1928-2010) The Eunuch, Marree, South Australia 1964 Silver gelatin print 37.5 × 27.2cm Private collection
Changing a title can dramatically alter the meaning of an image. This work has had several titles:
Morning Break 1964; Dreaming in the sun at Marree, outside the towns single store 1966; At times there is not too much to do except just sit in the sun… 1968; ‘Pompey’ a well known resident of Marree; and finally The Eunuch, Marree, South Australia 2000
Under early titles, the photograph appeared to be a simple portrait of “Pompey”, a local Aboriginal man in Marree who worked at the town’s bakery. The final title draws viewers’ attention away from what might have seemed to be the man’s relaxed approach to life, and towards the violence enacted on Aboriginal communities in castrating young boys.
(82) Photographer undisclosed Persons Of Interest – ASIO surveillance images 1949 -1980 ‘Frank Hardy under awning Caption: Author Frank Hardy shelters under an awning, in the doorway of the Building Workers Industrial Union, 535 George St, Sydney, August 1955’ C-type prints 22 × 29cm each Private collection
The Australian Security and Intelligence Organisation (ASIO) employed photographers to spy on Australian citizens. The photographs which were annotated to indicate persons of interest, were retained by ASIO along with other forms of material gathered through espionage.
(85) Luc Delahaye (French, b. 1962) L’Autre (detail) 1999 Book published by Phaidon Press, London 17 × 22cm Private collection
In the footsteps of Walker Evans’ classic candid series, Rapid Transit 1956
(94) David Moore (Australian, 1927-2003) Migrants arriving in Sydney 1966 Silver gelatin print 35.7 × 47cm Private collection
In 2015, Judy Annear said of this famous photograph: “It’s great to consider that it’s not actually what it seems.” Years after the photo was published, it emerged that four of the passengers in it were not migrants but Sydneysiders returning home from holiday.
(95) Joe Rosenthal (American, 1911-2006) Raising the Flag on Iwo Jima 1945 Digital print on wallpaper, reproduced at 20 × 25cm
While not present at the the raising of the first flag over Iwo Jima, Rosenthal witnessed the raising of the replacement flag. Some maintain that this Pulitzer Prize winning photograph was staged, while others hold that it depicts the replacement of the first flag with a larger one.
(103) Charles Kerry (Australian, 1857-1928) Aboriginal Chief c. 1901-1907 Carte de visite 13.7 × 8.5 cm Private collection
No name or details are recorded of this sitter from Barron River, QLD. He was a member of the touring Wild West Aboriginal troupe, which staged corroborees, weapon skills and tableaux of notorious encounters between armed Native Police and unarmed local communities.
(104) Brook Andrew (Australian, b. 1970) Sexy and Dangerous 1996 Computer-generated colour transparency on transparent synthetic polymer resin, included here as postcard of artwork original 146.0 × 95.6cm, included here at 15.3 × 10.5cm The artist is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels
(116) William Eggleston (American, b. 1939) Untitled (glass on plane) 1965-1974 C-type print 41 × 56cm Private collection
(117) Bill Culbert (New Zealand, b. 1935) Small glass pouring Light, France 1997 Silver gelatin print, edition of 25 40.5 × 40.5cm Courtesy the artist and Roslyn Oxley9 Gallery, Sydney and Hopkinson Mossman Gallery, Auckland
(118) Olive Cotton (Australian, 1911-2003) Teacup Ballet 1935 Silver gelatin print 35.5 × 28cm Courtesy Tony Lee
(119) David Moore (Australian, 1927-2003) Sisters of Charity 1956 Silver gelatin print 40.5 × 27.1cm Private collection
(123) Max Dupain (Australian, 1911-1992) Backyard, Forster, New South Wales 1940 Silver gelatin print 44 × 39cm Private collection
(138) Joyce Evans (Australian, 1929-2019) Budapest Festival 1949 Inkjet print 7.6 × 7.6cm Courtesy the artist
(145) Jeff Wall (Canadian, b. 1946) A sudden gust of wind (after Hokusai) 1993 Transparency on lightbox, included here as postcard of artwork 250 × 397 × 34cm, included here at 15.3 × 10.5cm Artist is represented by Marian Goodman Gallery; Gagosian; and White Cube Gallery
(147) Masayoshi Sukita (Japanese, b. 1938) David Bowie – Heroes 1977 Record cover 31 × 31cm
Sukita: In gesture and gaze, Sukita’s photograph for David Bowie’s 1977 cover harks back 60 years to Weimar Republic artist, Erich Heckel’s 1917 painting, Roquairol, which is in Bowie’s art collection.
(148) Francis Alÿs (Belgian based Mexico, b. 1959) Railings (Fitzroy square) London, 2004 4.03 min. Francis Alÿs website
We posit Fitzroy Square at this point; in honour of your journey through this unorthodox flow of images.
Curators:Lead Curator: Diane Dufour (Director of Le Bal); Co-Curators / Organisers: Matthew Witkovsky (Art Institute of Chicago), Walter Moser (Fotomuseum Winterthur), and Duncan Forbes.
Installation photograph of the exhibition Provoke: Between Protest and Performance – Photography in Japan 1960-1975 at the Albertina, Vienna
I absolutely love Japanese photography from this period.
Subjective photographs with a gutsy pictorial language: rough, grainy, and blurred intimations of a postwar reality mated with “the search for a new Japanese identity.”
An identity (pop!) art with an elemental, chthonic twist containing a dark sensuality which produced images that pull no punches. Wonderful stuff.
Dr Marcus Bunyan
Many thankx to the Albertina for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
The Japanese photo magazine Provoke, which ran for three issues in 1968 and 1969, is viewed as a one-of-a-kind agglomeration of post-war artistic efforts. In the world’s first-ever exhibition on this topic, the Albertina examines the complex genesis of this magazine and thereby presents a representative cross-section of photographic trends present in Japan between the 1960s and 1970s.
With around 200 objects, this showing unites works by Japan’s most influential photographers including Daidō Moriyama, Yutaka Takanashi, Shomei Tomatsu, and Nobuyoshi Araki. In light of the massive protest movements active in Japan during this period, their photographs arose at a historical turning point between societal collapse and the search for a new Japanese identity. These images thus represent both an expression of this political transformation and the renewal of prevalent aesthetic norms.
This exhibition is a coproduction between Albertina, Fotomuseum Winterthur, Le Bal (Paris), and Art Institute of Chicago.
The three numbers of Provoke were printed in small editions of only one thousand copies each. Takuma Nakahira, Yutaka Takanashi, Kōji Taki, and Takahiko Okada founded the magazine; Daidō Moriyama joined the group with the magazine’s second issue. While the first two numbers were dedicated to the subjects Summer 1968 and Eros, the last issue had no focal theme.
The photographers of Provoke worked spontaneously and dynamically, often without looking through the viewfinder of their small-format cameras. This made for a rough, grainy, and blurred (“are,” “bure,” “boke”) pictorial language influenced by Ed van der Elsken and William Klein. This language broke with traditional photography defined by sophisticated compositions, perfect tonal values, and the vintage print. The tonal quality of pictures reproduced through printing differed from that of traditional photographic prints, and the pictures were regarded as independent works in their own right. Contrary to the objectives of the traditional matter-of-fact documentary photography, they mirrored their authors’ subjective experience of Japan’s postwar reality. The manifesto in the first Provoke issue defined photography as an autonomous medium independent of spoken language and aimed at “provoking” thoughts and ideas. The title of the magazine Provoke: Provocative Materials for Thought expresses this intention.
Wall text
Takuma Nakahira (1938-2015) | For a Language to Come
The photographer, theorist, and critic Takuma Nakahira and Kōji Taki were responsible for the discursive orientation of Provoke. Nakahira’s works rejected the rules of photojournalism and its claim of rendering facts in a generally valid, objective way. They were also critical of the visual mass media which increasingly pervaded the everyday life of Japan’s consumerist society. According to Nakahira, the media, having lost all relation to reality through the information explosion, were only concerned with presenting a virtual reality. Nakahira did not regard the photograph as an artist photographer’s means of expression but as a mere mechanical document of his subjective perception.
It is the relationship between photography and language which is central for Nakahira’s photography. This is not only evident in Provoke but also in his book For a Language to Come published in 1970. This volume assembles a non-linear and unhierarchical sequence of snapshots evoking imaginary, post-apocalyptic sceneries which not least reveal the photographer’s skepsis about the US consumerist culture spreading throughout Japan.
Wall text from the exhibition
Three Waves of Protest Books
The protest books can be divided into three groups. From the 1960s, mainly collective publishing projects highlighted social unrest such as mass demonstrations and strikes organised by the trade unions against the ratification of the Security Treaty. The trade union publication Rope Ladder and Iron Helmet, for example, documents the occupation of a publishing house by its employees. The second wave saw primarily individual publications by various photographers such as Kazuo Kitai’s book Resistance. It depicts the students’ activities, and its rough and grainy pictorial language became important for Provoke. The third wave of protest books, generally designed by students and published from 1967 on, focused on violent street fights in Tokyo directed against the Vietnam War. The collectively produced volume Sanrizuka – The Hokusō Plateau on Fire. Document 1966-71 deals with the protests against the construction of the airport in Sanrizuka, in which students joined forces with the local farmers.
Wall text from the exhibition
Installation photographs of the exhibition Provoke: Between Protest and Performance – Photography in Japan 1960-1975 at the Albertina, Vienna
Shōmei Tōmatsu is seen as a key figure for Provoke. He photographed the sociopolitical changes in Japan from the 1950s on, depicting US military bases, the consequences of dropping a nuclear bomb on Nagasaki, and the student protests in a new, symbolic documentary style. The pictures’ subjective approach revolutionised traditional documentary and reportage photography, which strove to convey a comprehensible story and a clear social message. The strategies developed by Tōmatsu are to be found in the Provoke artists’ works in a pointed form.
Tōmatsu also supported the Provoke photographers as an exhibition organiser and editor. Together with Takuma Nakahira and Kōji Taki, he prepared the first major exhibition of Japanese photography in 1968, which was to stimulate the founders of the magazine to explore the medium. Tōmatsu and Nakahira edited the photo galleries I am a King in the magazine Gendai no me (The Contemporary Eye), which for the first time assembled works by the photographers who would form the Provoke group.
Pictures taken in the context of performances breach the boundary between photographic documentation and live action and emphasize performative aspects of the medium like the brief act of pictorial production and the materiality of the picture. For his series Kamaitachi, Eikō Hosoe portrayed the butoh and performance artist Tatsumi Hijikata from 1965 on. The performer incorporated the demon Kamaitachi in scenes specifically staged for the camera, visualising the photographer’s memories of World War II. As Hosoe used his camera in a very dynamic way, the shooting may be seen as a happening involving two artists.
Competing with Provoke, Nobuyoshi Araki produced a number of Xerox photography books from 1970 on. Araki and his assistants xeroxed photographs and sent the copies bound between black covers to colleagues and friends. The production process resembling a happening, the use of technically inadequate means, and the preference of copies over the original defied classical photography in ways to be found in the Provoke magazines.
Also inspired by Provoke, Jirō Takamatsu turned to conceptual photography. For Photograph of Photograph he employed a photographer to take pictures of pictures from his family albums. The snapshot-like pictorial language manifesting itself in reflections and random image sections defamiliarises the album pictures. Like in Daidō Moriyama’s series Accident, processes connected with the production of prints become a visible element of work that questions the supposed factuality of the medium.
In the 1960s and early 1970s, Japan was shaken by massive, partly violent waves of protests. The key event was the ratification of the Security Treaty between Japan and the United States in 1960. Japan’s role as a military base for the war against Vietnam, the construction of Narita Airport in Sanrizuka, and the neoliberal activities of big concerns also led to protests. The years between 1960 and 1975 saw the publication of about eighty publications on the protests and the assessment of Japan’s recent history, particularly the US nuclear bombing of Hiroshima and Nagasaki, connected with it.
Published by artist photographers, student associations, trade unions, and professional photo journalists, the protest books were produced in different ways. They were aimed at spreading information and mobilising people for further protests. The strategies of subversive self-representation were characterised by an innovative design: appeal-like combinations of texts and images, suggestive sequences, dynamic croppings, and an interplay of inferior materials and sophisticated layouts.
Though the members of Provoke, excepting Moriyama, were active politically, they held the opinion that the possibilities of protest photography had been exhausted and that it could not bring about political change. Nevertheless, Provoke followed the models developed by it. The most striking feature next to layout and printing techniques is the protest photographers’ abstract and blurry aesthetic resulting from technical shortcomings.
The Japanese photo magazine Provoke, which ran for three issues in 1968 and 1969, is regarded as a highlight of post-war photography. The Albertina, in the world’s first-ever exhibition on this topic, is taking a close look at this publication’s creators and its long genesis. The presentation encompasses a representative cross-section of Japanese photographic trends during the 1960s and 1970s. With around 200 objects, the exhibition Provoke unites works by Japan’s most influential photographers – including Daidō Moriyama, Yutaka Takanashi, Shōmei Tōmatsu, and Nobuyoshi Araki. Before the backdrop of the massive protest activities in Japan during this period, they created their images out of an awareness of being at a historical turning point between societal collapse and the search for a new Japanese identity. These works thus represent both an expression of this political transformation and a renewal of prevalent aesthetic norms.
This exhibition places Provoke in a historical context, focussing on the dialogue between the group’s photography in particular and contemporary protest photography and performance art in general.
Photography is examined as a document of – and/or a call to – protest against injustice: the period around 1960 saw numerous books published in connection with the first great wave of protests in Japan against renewal of the alliance with the USA. A few of them document the demonstrations themselves, while others deal with related themes – above all with the nuclear bombing of Hiroshima and Nagasaki. The years during which Provoke was published saw these protests, which were staged employing great creativity, give rise to a captivating visual world of resistance to the illegal actions of large corporations and the despotism of the neoliberal Japanese state.
As the 1960s wore on, the protest movements intensified, leading to a flood of photo volumes and prints. The makers of Provoke – critic Kōji Taki, author Takuma Nakahira, critic and photographer Takuma Nakahira, and photographers Yutaka Takanashi and Daidō Moriyama – were of the opinion that journalistic photography had exhausted itself and that it was impossible to effect long-term change through direct political action. But even so, in their texts and their photos, they oriented themselves on the aesthetic strategies to which Japan’s protest photography had given rise: their works feature strikingly innovative graphic design that employs image sequences, pithy text/image combinations, dynamic outtakes, and the interplay of specifically chosen cheap materials (rough paper, low-resolution printing) with fold-outs and unusual formats.
The exhibition concludes by examining the Japanese photography of its chosen period as a variant of performance art and/or as documentation of live actions: Daidō Moriyama, Takuma Nakahira, and Nobuyoshi Araki are among those photographers who, around 1970, developed great interest in portraying darkroom work or other processes connected to the production of photographic prints as visible and active components of photographic creativity. They were preceded in their efforts by dance performers such as Tatsumi Hijikata, who worked with filmmakers and photographers, as well as by groups like the Hi-Red Center, which blurred the distinctions between photographic documentation and live actions in which photography and other media played a role.
But such influences worked both ways: directly inspired by the activities of the photographers of Provoke, Hi-Red Center member Jiro Takamatsu and Koji Enokura turned to photographic conceptual art in the early 1970s.
From the mid-1960s, Yutaka Takanashi focused on the urban change of the metropolis. Tokyo’s massive expansion, the modernisation of its infrastructure, and its ruthless industrialisation were captured in spontaneous pictures often shot from a driving car. Unlike his Provoke colleagues’ works, Takanashi’s photographs are easier to read, less pessimistic, and show a stronger affinity to classical documentary photography. He composed all his pictures by looking through the viewfinder.
In close collaboration with the book designer Kōhei Sugiura, Takanashi published the artist book Toshi e (Towards the City). Embedded in a cardboard box, its two volumes comprise a number of different, partly overlapping work groups: while the smaller one, titled Tokyo-jin (Tokyoites) contains pictures of the city’s inhabitants from 1966, the larger one explores Tokyo’s new topography, documenting its outlying districts. Shot in the Provoke era, the pictures’ blurriness and apparent exposure mistakes testify to the group’s influence.
Daidō Moriyama’s series Accident interlinks sociopolitical subjects, references to Western art, and media-analytical considerations. Against the background of Japan’s strengthening consumerist culture, Moriyama, inspired by Andy Warhol’s pop art pictures, relied on everyday mass media. Next to demonstrations and pop culture motifs, Moriyama, alluding to Warhol’s work Silver Car Crash of 1963, photographed police posters that campaigned for safe driving with deterrent pictures of car accidents. Reflections on the material and blurs resulting from the pictures’ enlargement emphasise the reproduction process. Moriyama questions the illusionary nature of photography and underlines their material quality. Regarding contents, the series investigates the conflict between the US consumerist culture’s attraction and the quest for a Japanese identity.
How can we put this. The early black and white photographs are magnificent; the later colour photographs pedestrian and mundane. It is quite amazing how an artist with such skill and panache in the 1960s-1980s can run out of ideas and make such stock standard work 30 years later. Does the artist loose the talent, the energy or just the persistence of vision that made their earlier work so vibrant and alive, or did the work just emerge from the time / space / energy of the artist in that particular period, never to appear again?
Moriyama’s black and white photographs provide “a raw, restless vision of city life and the chaos of everyday existence, strange worlds, and unusual characters.” More than that, they plunge us into a mesmerising, hypnotic world where the viewer is immersed in a fractured dream / scape / space. Kagerou (Mayfly) (1972, below) is just such an example of this holographic, bugs caught in amber view of our world; the dirty footed, fleeing creature in Untitled (woman in white dress running) (1971, below) confirms this ambiguity, the trapped animal caught by the flash of the camera. Strange, haunting and evocative, Moriyama’s black and white photographs project the derangement of the world onto the psyche of the viewer, producing an abnormal condition of the mind that promotes a loss of contact with reality. The colour photographs never stand a chance against such life changing affirmations.
Dr Marcus Bunyan
Many thankx to the Los Angeles County Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Installation views of the exhibition Fracture: Daido Moriyama at the Los Angeles County Museum of Art (LACMA)
Courtesy of Daido Moriyama and Los Angeles County Museum of Art, Los Angeles
The Los Angeles County Museum of Art (LACMA) presents Fracture: Daido Moriyama, the first solo museum exhibition of photographer Daido Moriyama (b. 1938) to be shown in Los Angeles. Moriyama first came to prominence in the mid-1960s with his gritty depictions of Japanese urban life. His highly innovative and intensely personal photographic approach often incorporates high contrast, graininess, and tilted vantages to convey the fragmentary nature of modern realities.
Spanning his early years to present day, the show features nearly fifty works, including a range of Moriyama’s renowned black-and-white photographs, his many important photo books, and the debut of recent colour work taken in Tokyo.
“Daido Moriyama’s immensely inventive and prolific achievements make him one of the leading photographers of our era. Inspiring viewers and artists world-wide, Moriyama continues to demonstrate a raw and restless exploration of the fractured realities of modern times, including his most recent colour work, appearing for the first time,” observes Edward Robinson, associate curator of LACMA’s Wallis Annenberg Photography Department and curator of the exhibition.
Exhibition overview
Responding to the rapid changes that transformed post-World War II Japan, Daido Moriyama’s black-and-white works express a fascination with the cultural contradictions of age-old traditions persisting within modern society, along with the effects of westernisation and consumerism.
Providing a raw, restless vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, Moriyama frequently photographs while on walks through Tokyo – particularly the dark, labyrinthine streets of the Shinjuku district – as well as when traveling on Japan’s postwar highways and during strolls through other urban centers in Japan and abroad. His work suggests the bold intuition informing the artist’s ongoing exploration of urban mystery, memory, and photographic invention.
Fracture: Daido Moriyama will display the artist’s iconic black-and-white photographs, exemplifying the are, bure, boke (grainy, blurry, out-offocus) style, in addition to a new installation of recent colour work. An accompanying video will feature documentary footage of the photographer at work, exploring by foot and responding to the vibrant cityscape of Tokyo. Also on view will be a selection of books – Moriyama has published more than forty to date – which highlights the artist’s highly influential experimentation with reproduction media and the transformative possibilities of the printed page.
About Daido Moriyama
Born in Ikeda, Osaka, Moriyama trained in graphic design, then took up photography with Takeji Iwaniya, a professional photographer of architecture and crafts. Moving to Tokyo in 1961, he assisted photographer Eikoh Hosoe for three years and became familiar with the trenchant societal critiques produced by photographer Shomei Tomatsu. Moriyama also drew inspiration from William Klein’s confrontational photographs of New York, Andy Warhol’s silkscreened multiples of newspaper images, and the writings of Jack Kerouac and Yukio Mishima.
His work has been collected by numerous public and private collections internationally, including LACMA, the Museum of Modern Art, New York, the San Francisco Museum of Modern Art, the Metropolitan Museum of Art, New York, the Getty Museum, Los Angeles, the Museum of Fine Arts, Boston, and the Centre Pompidou, Paris. Moriyama has had recent major solo shows at The Fondation Cartier pour l’Art Contemporain, Paris, The Fotomuseum, Winterthur, Switzerland, the Metropolitan Museum of Photography in Tokyo, and will be exhibited with William Klein at the Tate Modern this fall.
Many thankx to Philadelphia Museum of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Daidō Moriyama often calls himself a “stray dog,” a reference to one of his iconic early pictures of a roaming mongrel, but also to his preferred incidental vantage points in relation to his subjects and his beguiled yet wary stance toward modernising Japanese society. In the series Memory of Dog, he revisited photographic scenarios and motifs from his previous two decades of work, overlaying his peripheral approach with another quality that he finds crucial to photography: its relationship to memory.
Daidō Moriyama is one of the most important and exciting Japanese photographers of our time, having made prolific, often experimental pictures of modern urban life since the 1960s. This exhibition showcases a group of approximately 45 photographs made in and around Tokyo in the 1980s, when Moriyama focused his mature aesthetic on the city with renewed intensity.
Moriyama approaches the world with an equalising eye, capturing disparate peripheral details that in themselves account for little, but together add up to a powerful diagnosis of modern experience. In 1980s Japan such details encompassed the disorienting and sometimes brutal juxtaposition of traditional culture and modernisation, most visible in the glut of consumer goods and images. But in Moriyama’s photographs these subjects appear alongside the banal elements of any streetscape: a derelict patch of pavement and wall, a car with an aggressive key scratch running its full length, even a single rose blossom.
Moriyama’s urban imagery shares some of its qualities with other great street photography of the 20th century, and he has cited the photographs of William Klein as a major influence. But his work involves strong responses to a wide range of modern art and literature, including photographs and graphic designs by many of his Japanese contemporaries, Andy Warhol’s silkscreens, and the novels of Jack Kerouac and James Baldwin. Moriyama’s mix of international and Japanese trends to represent modern Tokyo is one source of his photography’s power, and the exhibition will include a small number of works by other artists to demonstrate his visual sensibility, including prints and photographs by Warhol, Klein, Shomei Tomatsu, and Tadanori Yokoo.
Since the 1960s Japanese photographer Daidō Moriyama (born 1938) has been making dynamic, often experimental images of modern urban life, establishing a reputation as one of the most important and exciting photographers of our time. The Philadelphia Museum of Art will present an exhibition of approximately 45 photographs by Moriyama, made in and around Tokyo in the 1980s, when the artist focused his mature aesthetic on the city with renewed intensity. The exhibition will be on view from February 28-June 30, 2009 in the Julien Levy Gallery at the Ruth and Raymond G. Perelman Building.
Born in 1938 in Ikeda-cho (now Ikeda-shi), Osaka, Moriyama witnessed the dramatic changes that swept over Japan in the decades following World War II. After his father’s death in a train accident, he began working as a freelance graphic designer at age 20. He was intrigued by the graphic possibilities of screenprinting, the cheapest and most prolific form for printed imagery, and by international trends in contemporary art. These interests, along with attention to the various forms of visual stimuli that populate the urban landscape have been a hallmark of Moriyama’s career.
In 1960 Moriyama took up the study of photography under Takeji Iwamiya and one year later moved to Tokyo hoping to join the eminent photographers’ group VIVO, a short-lived cooperative whose members were exploring and confronting the revolution in modern Japanese society in their work. Although VIVO disbanded a week after Moriyama’s arrival in the capital, the visual and existential turmoil they explored would become one of the core subjects in Moriyama’s photographs. His gritty, black and white images of streets and highways express the conflicting realities of contemporary Japan, the disorienting and sometimes brutal juxtaposition of traditional culture and modernisation.
“It is a pleasure to present this group of photographs from the Museum’s collection reflecting the distinctive vision of Daidō Moriyama, who is undoubtedly among the great urban photographers of the 20th century,” Curator of Photographs Peter Barberie said. “These particular images focus on the visual experience of modern-day Tokyo, but through them Moriyama is documenting broader global trends of modernisation, and at the same time exploring the unique aesthetic qualities of his medium.”
His early images from the 1960s and 70s tested the notion of photographic artistry in an extreme fashion. He chose seemingly arbitrary subjects, and experimented with motion and overexposure to create blurred or nearly blank images, adopting an anti-aesthetic position. Other Japanese photographers were also working in this vein, but Moriyama’s 1972 book Bye Bye Photography became the defining statement of this particular style. The later photographs presented in this exhibition are generally sharper in focus but maintain the peripheral vantage point that Moriyama so often employed, as well as the seemingly random content. His images capture with an equalising eye the kinds of disparate peripheral details that litter the modern urban experience: shadows, cars, and abandoned corners, as well as the glut of consumer goods and commodities.
Profoundly influenced by Japanese photographers Eikoh Hosoe and Shomei Tomatsu, Moriyama’s vision was also enriched by his acquaintance with the work of American photographers William Klein and Robert Frank. Like them he practiced a new, more action-oriented street photography. His images are often out of focus, vertiginously tilted, or invasively cropped.
His work also involves strong responses to a wide range of modern art and literature, including photographs and graphic designs by many of his Japanese contemporaries, Andy Warhol’s silkscreens, and the novels of Jack Kerouac and James Baldwin. The exhibition will include a small number of works by other artists to demonstrate his visual sensibility, including prints and photographs by Warhol, Klein, Shomei Tomatsu, and Tadanori Yokoo.
![Unknown photographer. 'Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly]' c. 1880](https://artblart.com/wp-content/uploads/2017/10/portrait-of-tracker-johnny-from-maryborough-district-web.jpg "Unknown photographer. 'Untitled [Portrait of Tracker Johnny from Maryborough District one of five trackers who helped track Ned Kelly]' c. 1880"){kind=tracking}
![J. E. Bray (Australian, 1832-1891) 'Untitled ["McDonnell's Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins"]' 1880](https://artblart.com/wp-content/uploads/2017/10/bray-je-mcdonnells-railway-tavern-web.jpg "J. E. Bray (Australian, 1832-1891) 'Untitled [\"McDonnell's Tavern opposite Railway Station, remains of Dan Kelly and Hart in coffins\"]' 1880")
Art Blart _ art and cultural memory archive 
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