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Daido Moriyama's Early Photo Books

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Daido Moriyama's Early Photo Books Dust in Your Eyes and Daido Moriyama’s Ink on Your Fingers: Early Photo Books MARK GODFREY Spread across the opening pages of Daido Moriya- light reflected off water droplets; the lighter parts are ma’s 1972 photo book A H u n te r is a photograph that darkened by the same drips. A photograph through at first seems to be no more than rows of patterned a car window might promise a kind of transparency bands—dark, light, dark, and so on, from top to bot­ (or a careful if nicely confusing layering of planes, as tom, with a central dark band speckled with spots of in Lee Friedlander’s MARIA FRIEDLANDER, SOUTH­ white. Only after looking at this image for some time WESTERN UNITED STATES, 1969); yet in this image, did I realize that this must be a view through a car each element is indistinct, and the scene is opaque. windshield after a rain shower; light is glinting off This is only one example among many, for when the droplets on the glass and off the hood of the car. I look at Moriyama’s work of the late 1960s and ’70s, Even then, it is hard to tell what is in front of the ve­ I’m struck by its visual characteristics more than its hicle—there is no discernible landscape, just black­ explicit content, whether that be Japanese actors, ness above and a slice of white, as if, perhaps, the car cherry blossoms, foggy New York streets, or stray is about to emerge from a tunnel into light; or maybe dogs. Moriyama often exposes his film at the precise this is just a dark cloud with a brighter horizon in the point where some person, animal, or object has in­ distance. tent (a windshield, rain) is deferred as instead I first truded right before the lens, coming too close for The photograph provides a way into Moriyama’s notice—and indeed enjoy—something else. That Daido Moriyama, Farewell Photography, 1972. him to focus. The rest of the photograph might con­ early work because my response to it echoes my ex­ “something else” could be called the image’s formal (ALL IMAGES COURTESY OF TAKA ISHII GALLERY, TOKYO / centrate on an event in the middle distance, but the perience of the work as a whole. Recognition of con- qualities, but that would be a bit misleading; in fact, PHOTOS: KENJI TAKAHASHI) intruder is what we notice as a fuzzy and somewhat what I see is form being undone. Yes, the photograph disturbing presence. Often the whole frame is taken MARK GODFREY is a curator of contemporary art at Tate is divided into horizontal bands, but their identities up by whatever stood right before Moriyama as he Modern, London. become indistinct: The darker bands are dotted with photographed. These shots are never “close-ups” be- 7 PARKETT 92 2013 6 7 cause the close-up infers an attempt to use the cam­ of paging through from era lens to see some detail of an object more crisply Daido Moriyama, Farewell Photography, 1972. one photograph to an­ than would otherwise be possible. Furthermore, other at a pace that is not Moriyama’s photographs lack a sense of distance. slowed by the book’s un­ This loss of orientation is also achieved by another usual form. Rather, the hallmark of Moriyama’s photographs: While many speed probably quickens images feature horizons, these are rarely horizontal. as the owner becom es With things looming too near and the world tipping conscious that the books away from us, a kind of giddiness ensues. contain a vast number of Moriyama’s early books, especially Farewell Photog­ images—far more than raphy (1972), include numerous photographs that in most other books of are degraded in one way or another, so that we notice this era. The images are this ruination as much as we see the image. Parts of usually bled right to the a shot might be double exposed; flash might obliter­ gutter and the edge of ate the precise elements of the image that one would the paper; without white expect it to illuminate (for instance, the faces of a borders, one photograph group of bikers in A H u n te r ). Elsewhere Moriyama flows into the next. The has clearly used dodgers in the darkroom to under- captivating contradiction or overexpose crucial components of a scene. He of these books is that prints scratched and damaged negatives, or includes this formal progression the sprocket holes that would normally be cropped we see that it is impossible to exactly define its limits. is counteed by a remarkable discontinuity in terms away. Often he rephotographs printed images—post­ Bodies do not blend into their surroundings, fading of subject matter: A face viewed close-up is followed ers, police photographs of car crashes, images from or blurring into them as in soft-focus images; rather, by waves on the shore, then a woman walking down books. Some of these are visibly photographed from the tiny grains out of which they are composed dis­ a road, and mannequins in a shop window. Whereas printed sources because we see the half-tone dots; perse at their edges. This sometimes reaches the Takanashi’s Towards the City begins with a sequence others seem just slightly more degraded than the point of undermining recognition altogether— on a road and ends with photos of the seashore, and first-hand images that surround them. Because he which does not mean that the photographs become Takuma Nakahira’s For a Language to Come (1970) be­ intersperses the pictures of pictures among other abstract, but only that we can no longer confidently gins at the shore and moves into the city, Moriyama’s photographs, we do not encounter such images as identify the bodies we feel are there. books have no climax or buildup, nor even a residual appropriations as we do in the work of Andy Warhol These characteristics can be gleaned from look­ sense of narrative. One photograph slides into and or Richard Prince, but simply as more images. ing at Moriyama’s individual images, but to really collides with the next, without logic. The most consistent feature of the early photo­ account for what makes this work so compelling, it The actual material of the books is also central to graphs is the high degree of grain. It does not mat­ is necessary to look at the composition of the photo their effect. Printed on coarse paper, the ink soaks ter whether a photograph shows something that was books where his images first appeared. In concentrat­ deep into the pages, giving each photograph deep originally moving or still, bright or dark, near or far: ing on these, I should be clear that Moriyama has blacks and making the images even more indiscern­ Everything looks as if it is atomized, pulverized into never wanted to confine the presentation and recep­ ible. The resulting impression is that the image will a fine dust. Gone are the delicate tonal contrasts of tion of his oeuvre by restricting himself to only one rub off onto our hands: The photograph is no longer classic modernist photography, and in their place, format. A particular photograph might therefore These early books have a number of remarkable fea­ apprehended only with vision but becomes a haptic we find cruder inky dots. Looking back at these ’70s make its first appearance in a magazine and then in a tures. In format, they are relatively modest—unlike, experience as well. photographs from the vantage point of today, when photo book; it might later be exhibited as an individ­ for instance, Kikuji Kawada’s T h e M a p (1965) with its To consider the place of Moriyama’s ’60s and ’70s most photographs comprise grids of pixels, the grain ual photograph and still later be reprinted at a differ­ elaborate foldouts, or Yutaka Takanashi’s Towards the books in more art-historical terms, we can begin by seems corporeal, as if the granular skin of the pho­ ent scale as one of a grid of other images. I am most City (1974) with its outsize horizontal format, every making some formal comparisons between his prac­ tographs is an analogue for the skin of the body, but drawn to what he did with his first photo books be­ page separated by a sheet of gray-brown paper. I n tice and three other kinds of work that emerged at in fact, its effect in Moriyama’s work is often to break cause this is where he seems at his most radical. Here Japan: A Photo Theatre (1968), A H u n ter, and Farewell the same time. First is the conceptual photography up bodies and deny them a sharp and real presence. his treatment of the format of the book goes hand in Photography, all small-size books that nestle easily in of Ed Ruscha,John Baldessari, Douglas Huebler, and If we look carefully at any figure in his photographs, hand with his (mis) treatment of each photograph. one’s lap, Moriyama sets up the intimate experience Dan Graham. Critics have spoken of “deskilling” and 8 9 a deadpan, anonymous, or amateurish approach to would shun (think of Shore’s congealed diner break­ from their work to create ‘pure’ images, drawing the what they depict, and their effect on the viewer and account for these artists’ rejection of conventions of fasts and toilet bowls).2* But whereas Shore’s images viewer’s awareness to this by fundamentally altering reader.
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