Posts Tagged ‘Japanese post-war photography

04
Jul
18

Exhibition: ‘I-Photo. Japanese Photography 1960-1970 from the Collection’ at Museum der Moderne Salzburg

Exhibition dates: 21st April – 8th July 2018

Curator: Christiane Kuhlmann, Curator Photography and Media Art; with Andrea Lehner-Hagwood, Curatorial Assistant, Museum der Moderne Salzburg

Works by Nobuyoshi Araki, Masahisa Fukase, Takashi Hanabusa, Jun Jumoji, Daidõ Moriyama, Masaaki Nakagawa, Bishin Jumonji, Shunji Õkura, Issei Suda, Akihide Tamura, Shin Yanagisawa, Yoshihiro Tatsuki

 

 

Daidō Moriyama. 'Lips from a Poster' 1975

 

Daidō Moriyama (born 1938 Osaka, Japan)
Lips from a Poster
1975
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Daidō Moriyama

 

 

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…

Marcus

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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.

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Daidō Moriyama (born 1938 Osaka, Japan)
Untitled (l. a. r.)
c. 1970
Lips from a Poster
1975
3 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Daidō Moriyama (born 1938 Osaka, Japan)
Stray Dog, Misawa
1971
From the series Hunter
Untitled
c. 1970
9 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Daidō Moriyama. 'Stray Dog, Misawa' 1971

 

Daidō Moriyama (born 1938 Osaka, Japan)
Stray Dog, Misawa
1971
From the series Hunter
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Daidō Moriyama

 

Daidō Moriyama (born 1938 Osaka, Japan) 'National Highway 1 AT Dawn 1, Asahi-cho, Kuwana City, Mie Prefecture' 1968

 

Daidō Moriyama (born 1938 Osaka, Japan)
National Highway 1 AT Dawn 1, Asahi-cho, Kuwana City, Mie Prefecture
1968
Gelatin silver print on Baryte paper
6.50 x 9.72 in. (16.5 x 24.7 cm)
Museum der Moderne Salzburg
© Daidō Moriyama

 

 

Daidō Moriyama

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 honors outstanding accomplishments in photography and visual art.

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Masahisa Fukase (1934-2012)
Untitled
1971
From the series Yoko
9 gelatin silver prints on Baryte paper (Vintage prints)
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Masahisa Fukase. 'Untitled' 1961-1970

 

Masahisa Fukase (1934-2012)
Untitled
1961-1970
From the series Yoko
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Masahisa Fukase, Courtesy Michael Hoppen Gallery London

 

 

Masahisa Fukase

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.

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Bishin Jumonji (born 1947 Yokohama, Japan)
Untitled
1971
3 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Bishin Jumonji. 'Untitled' 1971

 

Bishin Jumonji (born 1947 Yokohama, Japan)
Untitled
1971
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Bishin Jumonji

 

Bishin Jumonji. 'Untitled' 1971

 

Bishin Jumonji (born 1947 Yokohama, Japan)
Untitled
1971
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Bishin Jumonji

 

 

Bishin Jumonji

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 organized 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 honorees 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.

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Akihide Tamura (born 1947, Yokyo, Japan)
Yokohama, 1966 (l.)
Yokosuka, 1969 (r.)
7 gelatin silver prints on Baryte paper
From the series Base
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Akihide Tamura (born 1947, Yokyo, Japan) 'Yokohama' 1966

 

Akihide Tamura (born 1947, Yokyo, Japan)
Yokohama
1966
From the series Base
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Akihide Tamura

 

 

Akihide Tamura

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 emphasizes 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 center 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.

Press release from Museum der Moderne Salzburg

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Yoshihiro Tatsuki (born 1937 Tokushima, Japan)
Untitled
c. 1970
3 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Yoshihiro Tatsuki (born 1937 Tokushima, Japan) 'Untitled' c. 1970

 

Yoshihiro Tatsuki (born 1937 Tokushima, Japan)
Untitled
c. 1970
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Yoshihiro Tatsuki

 

 

Yoshihiro Tatsuki

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.

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Nobuyoshi Araki (born 1940 Tokyo, Japan)
Untitled
1971
From the series Sentimental Journey
7 gelatin silver prints on Baryte paper
Museum der Moderne Salzburg

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Nobuyoshi Araki (born 1940 Tokyo, Japan) 'Untitled' 1971

 

Nobuyoshi Araki (born 1940 Tokyo, Japan)
Untitled
1971
From the series Sentimental Journey
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Nobuyoshi Araki

 

Nobuyoshi Araki (born 1940 Tokyo, Japan) 'Yoko, my Love' Nd

 

Nobuyoshi Araki (born 1940 Tokyo, Japan)
Yoko, my Love
Nd
Gelatin silver print on Baryte paper (Vintage print)
Museum der Moderne Salzburg
© Nobuyoshi Araki

 

 

Nobuyoshi Araki

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.

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection featuring the work of Nobuyoshi Araki
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection

 

Exhibition view of I-Photo. Japanese Photography 1960-1970 from the Collection
© Museum der Moderne Salzburg
Photo: Rainer Iglar

 

Takashi Hanabusa (born 1949 Kobe, Japan) 'Untitled' Nd

 

Takashi Hanabusa (born 1949 Kobe, Japan)
Untitled
Nd
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Takashi Hanabusa

 

 

Takashi Hanabusa

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 (1943-2005) 'Selfportait, Against Wall of My Home' Nd

 

Masaaki Nakagawa (1943-2005)
Selfportait, Against Wall of My Home
Nd
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Masaaki Nakagawa

 

 

Masaaki Nakagawa

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 (born 1940 Tokyo, Japan) 'Untitled' 1975-76

 

Issei Suda (born 1940 Tokyo, Japan)
Untitled
1975-76
From the series Fûshi Kaden
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Issei Suda

 

 

Issei Suda

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 (1936-2008) 'Untitled' 1972

 

Shin Yanagisawa (1936-2008)
Untitled
1972
From the series In the Street, Toyama
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Estate of Shin Yanagisawa

 

 

Shin Yanagisawa

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.

 

Shunji Ōkura (born 1936 Ushigome, Japan) 'Untitled' Nd

 

Shunji Ōkura (born 1936 Ushigome, Japan)
Untitled
Nd
Gelatin silver print on Baryte paper
Museum der Moderne Salzburg
© Shunji Ōkura

 

 

Shunji Ōkura

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 Rupertinum
Wiener-Philharmoniker-Gasse 9
5020 Salzburg
Phone: +43 662 84 22 20-451

Opening hours:
Tuesday – Sunday: 10 am-6 pm
Wednesday: 10 am-8 pm
Monday: closed

Museum der Moderne Salzburg website

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21
Apr
16

Exhibition: ‘Provoke: Between Protest and Performance – Photography in Japan 1960 – 1975’ at the Albertina, Vienna

Exhibition dates: 29th January – 8th May 2016

 

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 a elemental, chthonic twist – containing a dark sensuality – producing images that pull no punches. Wonderful stuff.

Marcus

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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.

 

 

Daido Moriyama, Takuma Nakahira, Okada Takahiko, Yukata Takanashi, Kōji Taki. 'Provoke 3' cover, 1969

 

Daido Moriyama, Takuma Nakahira, Okada Takahiko, Yukata Takanashi, Kōji Taki
Provoke 3 cover
1969
© Nakahira Gen/Moriyama Daido/Takahiko Okada/Takanashi Yukata/Taki Koji

 

 

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)

 

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 organized 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)

 

Installation photograph of the exhibition 'Provoke: Between Protest and Performance - Photography in Japan 1960 - 1975' at the Albertina, Vienna

Installation photograph of the exhibition 'Provoke: Between Protest and Performance - Photography in Japan 1960 - 1975' at the Albertina, Vienna

Installation photograph of the exhibition 'Provoke: Between Protest and Performance - Photography in Japan 1960 - 1975' at the Albertina, Vienna

Installation photograph of the exhibition 'Provoke: Between Protest and Performance - Photography in Japan 1960 - 1975' at the Albertina, Vienna

 

Installation photographs of the exhibition Provoke: Between Protest and Performance – Photography in Japan 1960 – 1975 at the Albertina, Vienna

 

Shōmei Tōmatsu. 'Blood and Rose, Tokyo, 1969' 1969

 

Shōmei Tōmatsu
Blood and Rose, Tokyo, 1969
1969
Gelatin silver print
Albertina, Vienna; permanent loan of the Austrian Ludwig Foundation for Art and Science
© Shōmei Tōmatsu Estate, courtesy | PRISKA PASQUER, Cologne

 

 

Shōmei Tōmatsu (1930-2012)

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 revolutionized 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 organizer 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. (Wall text)

 

Eikoh Hosoe. '"Kamaitachi" #31' 1968

 

Eikoh Hosoe
“Kamaitachi” #31
1968
Gelatin silver print
Albertina, Vienna – permanent loan of the Austrian Ludwig Foundation for Art and Science
© Eikoh Hosoe/Taka Ishii Gallery

 

 

Performance

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, visualizing 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 defamiliarizes 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. (Wall text)

 

Anonym (Bild 1) 'Protest Surrounding the Construction of Narita Airport' c. 1969

 

Anonym (Bild 1)
Protest Surrounding the Construction of Narita Airport
c. 1969
Gelatin silver print
Collection of the Art Institute of Chicago © AIC

 

 

Protest

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 mobilizing people for further protests. The strategies of subversive self-representation were characterized 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. (Wall text)

 

Anonym (Bild 2) 'Protest Surrounding the Construction of Narita Airport' c. 1969

 

Anonym (Bild 2)
Protest Surrounding the Construction of Narita Airport
c. 1969
Gelatin silver print
Collection of the Art Institute of Chicago © AIC

 

 

“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.”

Press release from the Albertina

 

Shōmei Tōmatsu. 'Editor, Takuma Nakahira, Shinjuku, Tokyo, 1964' 1964

 

Shōmei Tōmatsu
Editor, Takuma Nakahira, Shinjuku, Tokyo, 1964
1964
Gelatin silver print
Collection of the Art Institute of Chicago
© Shōmei Tōmatsu Estate – INTERFACE

 

Yutaka Takanashi. 'The Beatles' 1965

 

Yutaka Takanashi
The Beatles
1965
From the series Tokyoites
Gelatin silver print
Albertina, Vienna
© Takanashi Yutaka

 

 

Yutaka Takanashi (b. 1935) | Towards the City

From the mid-1960s, Yutaka Takanashi focused on the urban change of the metropolis. Tokyo’s massive expansion, the modernization of its infrastructure, and its ruthless industrialization 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. (Wall text)

 

Yutaka Takanashi. 'Ohne Titel (Toshi-e)' 1969

 

Yutaka Takanashi
Ohne Titel (Toshi-e)
1969
Gelatin silver print
© Takanashi Yutaka/Taka Ishii Gallery

 

Yutaka Takanashi. 'Untitled (Tatsumi Hijikata)' 1969

 

Yutaka Takanashi
Untitled (Tatsumi Hijikata)
1969
Gelatin silver print
© Takanashi Yutaka / Taka Ishii Gallery
© Keio University Art Center / Courtesy of Butoh Laboratory Japan

 

Daidō Moriyama. 'Untitled' from the series 'Akushidento (Accident)' 1969

 

Daidō Moriyama
Untitled, from the series Akushidento (Accident)
1969
Gelatin silver print
© Daidō Moriyama / Shadai Gallery, Tokyo Polytechnic University

 

 

Daidō Moriyama (geb. 1938) | Accident

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 emphasize 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. (Wall text)

 

 

Albertina
Albertinaplatz 1
1010 Vienna, Austria
T: +43 (0)1 534 83-0

Opening hours:
Daily 10 am – 6 pm
Wednesday 10 am – 9 pm

Albertina website

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20
Jul
12

Exhibition: ‘Fracture: Daido Moriyama’ at the Los Angeles County Museum of Art (LACMA)

Exhibition dates: 7th April – 31st July 2012

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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-80s 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

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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.

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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 color 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 color work, appearing for the first time,” observes Edward Robinson, associate curator of LACMA’s Wallis Annenberg Photography Department and curator of the exhibition.

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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 westernization 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 color 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.

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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.”

Press release from the LACMA website

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Los Angeles County Museum of Art (LACMA)
5905 Wilshire Boulevard (at Fairfax Avenue)
Los Angeles, CA, 90036
T: 323 857-6000

Opening Hours:
Monday, Tuesday, Thursday: noon-8 pm
Friday: noon-9 pm
Saturday, Sunday: 11am-8 pm
closed Wednesday

LACMA website

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Marcus Bunyan black and white archive: ‘Études’ 1994

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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