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Postwar Japanese Photography: a Selected Bibliography Thomas F Postwar Japanese Photography: A Selected Bibliography Thomas F. O’Leary, Anat Icar-Shoham, Patricia Lenz, Shir Yeffet Review of Japanese Culture and Society, Volume 31, 2019, pp. 242-271 (Article) Published by University of Hawai'i Press DOI: https://doi.org/10.1353/roj.2019.0019 For additional information about this article https://muse.jhu.edu/article/782279 [ Access provided for user 'hawaiijrnls' at 23 Mar 2021 02:10 GMT with no institutional affiliation ] Author Kawada Kikuji, The Last Sunrise of Showa Era, 1989 January 7, from the series The Last Cosmology. ©︎ Kikuji Kawada. Courtesy PGI, Michael Hoppen Gallery. 242 REVIEW OF JAPANESE CULTURE AND SOCIETY 2019 Author Postwar Japanese Photography: A Selected Bibliography Edited by Thomas F. O’Leary and compiled by Anat Icar-Shoham, Patricia Lenz, and Shir Yeffet Overview and Introduction The first daguerreotypes and cameras arrived in Japan in 1848, less than a decade after the invention of photography in the West. From that moment on, photography has remained a central aspect of Japanese visual culture, ranging from the portrait studios of Yokohama to the contemporary photographers of today. The history of photography in Japan is as intertwined with its visual and popular culture, as it is in Europe and the United States. The study of Japanese photography in Europe and the United States has been growing steadily since the end of World War Two and, in particular, since 1974 when the Museum of Modern Art in New York held its New Japanese Photography exhibition curated by John Szarkowski and Yamagishi Shōji. This exhibition featured photographers such as Domon Ken, Hosoe Eikoh, Tōmatsu Shōmei, and Moriyama Daidō, names that will be familiar to anyone with an interest in the history of Japanese photography. During the Heisei period, artists and photographers, such as Morimura Yasumasa and Yanagi Miwa, continued pushing the limits of lens-based images by engaging with globalized concepts such as gender, race, and class identity, as well as other forms of contemporary practices, bringing Japanese photographic work to an even wider audience. One of the primary barriers to a deeper engagement with the history of Japanese photography for audiences in Europe and the United States has been linguistic. This bibliography seeks to provide those with an interest in the history of Japanese photography a list of sources published in Western languages on the subject. The list begins with the Shōwa era (1926-89), emphasizing photographers who worked after the war, and continues through the Heisei era (1989-2019), when women photographers entered the field en masse. Within those historical periods, we sought to further divide the list into historical overviews, critical writings, photographers, and museum exhibitions. 2019 REVIEW OF JAPANESE CULTURE AND SOCIETY 243 Author This list, like any other, is limited by the historical moment in which it is published, as well as the space allotted in this journal. Therefore, it is the goal of all those who have participated in the creation of this list that it continue to live and grow online. We plan to expand this list to include writings on Japanese photography from Bakumatsu, Meiji, Taishō, and prewar Shōwa photography, making it a live and searchable online application. If fellow scholars and colleagues find any lacuna in the current list, or want to ensure that certain materials will be included in the future bibliography, we warmly welcome any and all contributions. Additionally, all efforts have been made to create accurate and complete references. Please feel free to alert us to any errors so they may be rectified in the online version. For the preliminary collection, we relied on John Clark’s compiled bibliography of Modern and Contemporary Asian Art, self-published in 2011. From that list, we extracted the items related to Japanese photography and then added several Ph.D. bibliographies and course syllabi. Contributions from Japan Art History Forum (JAHF) members and the PoNJA GenKon community have further expanded the list, and the introduction of sources in other European languages (German, French, Italian, and Spanish) has completed the current task. I would like to thank Ayelet Zohar for spearheading and initiating this project; without her dedication and leadership, this bibliography would never have been completed. Additionally, Rebecca Corbett lent invaluable expertise in terms of shaping the organization of this version of the bibliography. Finally, the project would never have come to fruition without the assistance of the following, who put in tremendous time and energy tracking down sources. I would like to thank: Anat Icar-Shoham, who edited the preliminary list, and integrated the addition of the new information we received from the Art History community; Patricia Lenz, who worked on the compilation of entries in German, French, and Italian; and Shir Yeffet, who worked on updating the list with post-2011 entries. We thank Jonathan Reynolds for sharing his course bibliographies; and Carrie Cushman, Kelly Midori McCormick, Maggie Mustard, and Dan Abbe for kindly sharing their Ph.D. dissertations bibliographies. Thomas F. O’Leary 244 REVIEW OF JAPANESE CULTURE AND SOCIETY 2019 Author General Historical Overview of Japanese Photography Bohr, Marco. “Myths and Binaries in Discourses on Japanese Photography.” Regioninės Studijos, no. 4 (2010): 11–24. Colombo, Attilio, and Isabella Doniselli. Japanische Fotografie von heute und ihre Ursprünge = De Japanse fotografie van 1848 tot heden (Japanese Photography from 1848 to Today). Edited by Comunale d’Arte Moderna Galleria. Amsterdam: Contact, 1980. Dower, John W. A Century of Japanese Photography. London: Hutchinson, 1981. Fraser, Karen M. Photography and Japan. London: Reaktion Books, 2011. Fritsch, Lena. Ravens & Red Lipstick: Japanese Photography Since 1945. London: Thames & Hudson Inc, 2018. Fruitmarket Gallery. Liquid Crystal Futures: Contemporary Japanese Photography. Edinburgh: Fruitmarket Gallery, 1994. Fuji, Hisae, Tōru Matsumoto, Yukio Kondo. Photography in Contemporary Art. Tokyo: National Museum of Modern Art, 1983. Fuku, Noriko, and Visual Studies Workshop, eds. An Incomplete History: Women Photographers from Japan, 1864-1997: A Visual Studies Workshop Traveling Exhibition. Rochester: Traveling Exhibition Service, Visual Studies Workshop, 1998. Fukuoka, Maki. “Toward a Synthesized History of Photography: A Conceptual Genealogy of Shashin.” Positions: East Asia Cultures Critique 18, no. 3 (2010): 571–97. Hachmann, Mark. Entwicklung und Charakteristik der Fotografie in Japan: Suche nach nationaler und kultureller Identität (Development and Characteristics of Photography in Japan: Seeking National and Cultural Identity). Saarbrücken: VDM, Verl. Dr. Müller, 2008. Heiting, Manfred, and Ryūichi Kaneko. The Japanese Photobook, 1912-1990. Göttingen: Steidl, 2017. Holborn, Mark, ed. Black Sun: The Eyes of Four: Roots and Innovation in Japanese Photography. New York: Aperture, 1986. Hoppen, Michael, Marc Feustel, and Michael Hoppen Photography (Gallery). Eyes of an Island: Japanese Photography 1945-2007. London: Guiding Light Studio Equis Limited, 2007. Japan Photographers Association. A Century of Japanese Photography. New York: Pantheon Books, 1980. Low, Morris. Japan on Display: Photography and the Emperor. London: Routledge, 2006. Masuda, Rei, and Kokusai Kōryū Kikin. Gazing at the Contemporary World: Japanese Photography from the 1970s to the Present. Edited by Yusuke Matsuoka. Tokyo: Japan Foundation, 2007. O'Leary, Thomas Francis. Tokyo Visions: Contemporary Japanese Photography and 2019 REVIEW OF JAPANESE CULTURE AND SOCIETY 245 Author the Search for a Subjective Documentary. PhD diss., University of Southern California, 2009. Shirayama, Mari. “Photojournalism and Propaganda.” In The Japanese Photobook, 1912-1990, edited by Manfred Heiting and Ryūichi Kaneko, 136-95. Göttingen: Steidl, 2017. Takeuchi, Mariko. Silence and Image: Essays on Japanese Photographers. Kyoto: Akaaka Art Publishing, 2018. Tucker, Anne, and Houston Museum of Fine Arts, eds. The History of Japanese Photography. New Haven, CT: Yale University Press, 2003. Tucker, Anne Wilkes. “A Parallel Vision: The Evolution of Photography in Japan.” Aperture, no. 170 (2003): 38–53. Vartanian, Ivan, Akihiro Hatanaka, and Yutaka Kambayashi, eds. Setting Sun: Writings by Japanese Photographers. New York: Aperture Foundation, 2006. Volk, Alicia. “Japanese Photography.” In Encyclopedia of Contemporary Japanese Culture, edited by Sandra Buckley, 387-89. New York: Routledge, 2001. Yamagishi, Shōji, and Cornell Capa, eds. Japan: A Self-Portrait. New York: International Center of Photography, 1979. Critical Writings on Japanese Photography Davre, Amandine. “Revealing the Radioactive Contamination after Fukushima in Japanese Photography.” Trans Asia Photography Review 10, no. 1 (Fall 2019). Forbes, Duncan. “Photography, Protest, and Constituent Power in Japan, 1960-1975.” In Provoke: Between Protest and Performance, Photography in Japan 1960-1975, edited by Diane Dufour and Matthew S. Witkovski. Göttingen: Steidl, printed for LE BAL, Albertina, Fotomuseum Winterthur, Art Institute of Chicago, 2016. Fujii, Yuko. Photography as Process: A Study of the Japanese Photography Journal Provoke. PhD Diss., The City University of New York, 2012. Friis-Hansen, Dana. “Internationalization, Individualism, and the Institutionalization of Photography.” In The History of Japanese Photography, edited by Anne Tucker and Houston Museum of
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