Metamorphosis of Japan After the War
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Mai 36 Galerie
MAI 36 GALERIE Japanese Photography 1930s – 1970s In collaboration with Taka Ishii Gallery Opening: Sunday, June 9, 2019, 11 am – 1 pm Exhibition: June 7 – August 3, 2019 Hours: Tues-Fri 11 am to 6.30 pm, Sat 11 am to 4 pm Zurich Art Weekend 2019: Friday, June 7, 12-7pm, Saturday/Sunday, June 8/9, 10am-7 pm Saturday, 3pm: Talk with Ryuichi Kaneko, former curator at Tokyo Metropolitan Museum of Photography We are pleased to present a selection of Japanese Photography in the group exhibition Japanese Photography 1930s- 1970s, in collaboration with Taka Ishii Gallery, Tokyo. Mai 36 Galerie has been showing contemporary positions in photography for 30 years, such as Thomas Ruff as well as analogue photography by Roe Ethridge, Luigi Ghirri, Ion Grigorescu, Jitka Hanzlová, Peter Hujar, Robert Mapplethorpe and Torbjørn Rødland. The global recognition of Japanese art photography has grown dramatically since the 1990s. Audiences worldwide were interested in the way that Japanese photographers, although influenced by Western photographic expression, created their own unique contexts for their practice. What began as interest in individual Japanese photographers expanded so that connections were made between the dots to create lines and overviews of Japanese photography transformed into systematic research of the same. In 2005, an exhibition on the history of Japanese photography was shown at the Houston International Photography Festival held in Texas, U.S.A., and deepened understanding of Japanese photography in America. In 2008, the “Heavy Light: Recent Photography and Video from Japan” exhibition was held at the International Center of Photography in New York, and it introduced post-1990s trends in Japanese photography and contemporary art. -
Activities of the Photographic Society of Japan in 2009
Activities of the Photographic Society of Japan in 2009 Established with the approval of the Ministry of Foreign Affairs in 1952, the Photographic Society of Japan is an organization whose objective is to “contribute to the promotion of international friendship through photography and the advancement of culture”. With a membership comprising both full society members and supporting members (groups), the Photographic Society of Japan functions as Japan’s only comprehensive cultural organization. As of the end of 2009, full members number 1,699 and include professional and amateur photographers as well as individuals involved in photography-related fields of science, technology, education, and journalism. Supporting membership comprises 57 corporations and organizations, including various associations representative of today’s photographic industry, manufacturers, trading firms, photography laboratories, studios, educational institutions, and the mass media. The basic objectives of the Photographic Society of Japan are as follows. ・To undertake exchange with overseas photographic organizations with the aim of contributing to the promotion of international friendship through photography and the advancement of culture. ・ To undertake activities on a national scale with the aim of encouraging the development and advancement of photographic culture. ・To sponsor a variety of activities in which a broad section of the general public can participate with the aim of popularizing and promoting photographic culture. Annual General Meeting Annual General -
La Visió Del Col·Leccionista. Els Millors Fotollibres Segons Martin Parr
1 - La visió del col·leccionista. Els millors fotollibres segons Martin Parr Owen Simmons (fotògraf desconegut) The Book of Bread Maclaren and Sons, Londres, 1903 Vladimir Maiakovski i Aleksandr Ródtxenko Pro eto. Ei i mne Gos. Izd-vo (publicacions de l’Estat), Moscou, 1923 Albert Renger-Patzsch Die Welt ist Schön Kurt Wolff Verlag, Munic, 1928 Germaine Krull Métal Librairie des Arts Décoratifs, París, 1928 August Sander Antlitz der Zeit: 60 Fotos Deutscher Menschen Transmare Verlag i Kurt Wolff Verlag, Munic, 1929 Bill Brandt The English at Home B. T. Batsford Ltd., Londres, 1936 Comissariat de propaganda de la Generalitat de Catalunya Madrid Indústries Gràfiques Seix i Barral, Barcelona, 1937 Robert Capa Death in the Making Covici Friede Inc., Nova York, 1938 Heinrich Hoffmann (ed.) Winterhilfswerk-Heftchen Bild-Dokumente Heinrich Hoffmann, Munic, de 1938 a c. 1942 KZ: Bildbericht aus fünf Konzentrationslagern Oficina d’informació de guerra nord-americana), 1945 imoni col·locat ho gaudeix] Éditions du Seuil, Album Petite Planete, París, 1956 The Great Hall of the People Editorial de belles arts del poble, Pequín, 1959 Dirk Alvermann Algerien / L’Algérie Rütten & Loening, Berlín, 1960 Dirk Alvermann vitrina Parr Algerien / L’Algérie Rütten & Loening, Berlín, 1960 (facsímil 2011) Kazuo Kenmochi Narcotic Photographic Document Inoue Shoten, Tòquio, 1963 Kazuo Kitai Teikoh Mirai-sha Press, Tòquio, 1965 Ed van der Elsken Sweet Life Harry N. Abrams Inc., Nova York, 1966 Gian Butturini London Editrice SAF, Verona, 1969 Enrique Bostelmann América: -
Developments in the Japanese Documentary Mode • Marcos Centeno and Michael Raine Developments in the Japanese Documentary Mode
Developments in the Japanese Documentary Mode • Marcos Centeno • Marcos and Michael Raine Developments in the Japanese Documentary Mode Edited by Marcos Centeno and Michael Raine Printed Edition of the Special Issue Published in Arts www.mdpi.com/journal/arts Developments in the Japanese Documentary Mode Developments in the Japanese Documentary Mode Editors Marcos Centeno Michael Raine MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Editors Marcos Centeno Michael Raine Department of Cultures and Film Studies Program, Languages, Birkbeck, Western University University of London Canada UK Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Arts (ISSN 2076-0752) (available at: https://www.mdpi.com/journal/arts/special issues/developments japanese documentary mode). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Volume Number, Page Range. ISBN 978-3-03943-913-3 (Hbk) ISBN 978-3-03943-914-0 (PDF) Cover image courtesy of Komura Shizuo. © 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. -
Japanese Photobooks of the 1960S and &Apos;70S
TABLE OF CONTENTS 7 Introduction Ryuichi Kaneko 11 The Japanese Photobook: Toward an Immediate Media Ivan Vartanian 23 A Note on Japanese Names 25 Photography in Print An Interview with Daido Moriyama 30 Hiroshi Hamaya I Snow Land 36 Shuntaro Tanikawa I Picture Book 40 Yasuhiro Ishimoto I Someday, Somewhere 46 Graphic ShGdan I Untitled 50 Eikoh Hosoe I Man and Woman 56 Ken Domon i The Children ofChikuho 62 Ichiro Kojima I Tsugaru (Poems, Texts, and Photography) 68 Yoichi Midorikawa I Seto Inland Sea 72 Yasuhiro Yoshioka I Yasuhiro Yoshioka 76 Yasuzo Nojima I Yasuzo Nojima: Posthumous Works 80 Fumiaki Kuwabara I Minamata Disease 86 Kikuji Kawada i The Map 94 Shomei Tomatsu I Japan 102 Kishin Shinoyama I 28 Girls by Kishin Shinoyama I Nude 108 Nobuyoshi Araki I Sentimental Journey I Okinawa: Araki Nobuyoshi Photobook 2 (Sentimental Journey Continued) I Tokyo: Araki Nobuyoshi Photobook 3 116 Daido Moriyama I Japanese Theater 124 Ikko Narahara I Europe: Where Time Has Stopped I Japanesque 130 Takuma Nakahira I For a Language to Come 136 Underground Generation 140 Katsumi Watanabe I Shinjuku Thievery Story, '66-J3 144 What Is 10/21? 150 Kenji Ishiguro I Hiroshima Now 156 Tetsuya Ichimura I Come Up 160 Yasushi Sugino I Impressive Landscape 164 I hei Kim u ra I The Eye of Ihei Kimura 168 Yutaka Takanashi I Towards the City 174 Hajime Sawatari I Nadia 178 Teiko Shiotani I Teiko Shiotani: Album, 1923-1973 182 Kineo Kuwabara I Tokyo 1936 188 Kiyoshi Suzuki S Soul and Soul 192 Hiromi Tsuchida I Gods of the Earth 196 Hitoshi Tsukiji I Perpendicularly, (Territory) 200 Shigeo Gocho I Self and Others 206 Miyako Ishiuchi I Apartment 212 Issei Suda I FOshi Kaden 218 Jun Morinaga I River: Its Shadow of Shadows 222 Keizo Kitajima I Photo Express: Tokyo, No. -
The Gaze of Things
The Gaze of Things Between 1957 and 1972, a radical transformation in photographic language was brought about in Japan by a group of photographers who started to develop their work in the post- war period. This renovation ran parallel to the great economic, cultural and psychosocial changes of a period marked by social confrontation directed in particular against the American legacy of the occupation. The unprecedented economic rise experienced by the country from 1964 onwards, together with its rapid immersion in an industrial and consumer culture that suppressed the values and structures of a fundamentally agrarian society, formed the background against which these artists developed a new kind of photography. The Gaze of Things. Japanese Photography in the Context of Provoke is an exhibition that gathers a selection of pictures taken by photographers belonging to four generations: Toyoko Tokiwa, Ikkō Narahara, Shōmei Tōmatsu, Eikoh Hosoe, Akira Satō, Kikuji Kawada, Hiroshi Hamaya, Takashi Hamaguchi, Nobuyoshi Araki, Yutaka Takanashi, Takuma Nakahira, Daidō Moriyama, Tamiko Nishimura, Ishiuchi Miyako and Kōji Enokura. In 1956, a series of photographs by Ikkō Narahara entitled Ningen no tochi (Human Land) was exhibited at a Tokyo gallery. It already displayed a new type of gaze that had little in common with the naturalist realism of the great post-war photographers like Ken Domon. Narahara called it a “personal document”, meaning a subjective document which, while based upon his personal gaze on concrete realities, allows itself to be affected by the realities those objects return to us. Shōmei Tōmatsu had meanwhile been working for years on a form of “documenting” that would move beyond the supposed “objectivity” of photojournalism. -
1 Hiroshi Hamaya the Sun on the Day of Defeat Takada, Niigata 1945 457
No. Photographer Title Year Size (mm) Frame size (mm) The sun on the day of defeat 1 Hiroshi Hamaya 1915-1999 Takada, Niigata 1945 457 x 557 610 x 761 2 Tadahiko Hayashi 1918-1990 Mother and child in a wasteland burned out by the war 1947 557 x 457 761 x 610 Discharged soldiers. 3 Tadahiko Hayashi 1918-1990 Shinagawa Station, Tokyo 1946 557 x 457 761 x 610 A man living in a destroyed office building 4 Tadahiko Hayashi 1918-1990 Edogawabashi, Tokyo 1947 557 x 457 761 x 610 Bar in a garbage dump 5 Tadahiko Hayashi 1918-1990 Omori, Tokyo 1950 557 x 457 761 x 610 6 Takeyoshi Tanuma 1929- A boy tied to a lamppost. Ginza, Tokyo 1949 557 x 457 761 x 610 Orphaned street children smoking 7 Tadahiko Hayashi 1918-1990 Ueno, Tokyo 1946 557 x 457 761 x 610 Sitting on a bench 8 Ken Domon 1909-1990 Shinbashi, Tokyo 1953 557 x 457 761 x 610 Dressed up to go shopping 9 Takeyoshi Tanuma 1929- Tsukudajima, Tokyo 1955 557 x 457 761 x 610 A discharged soldier returning to his home in ruins 10 Ihei Kimura 1901-0974 Tokyo 1948 557 x 457 610 x 761 Elderly couple on a pilgrimage in mourning for their son killed in the war 11 Shigeichi Nagano 1925- Tokushima 1956 450 x 303 610 x 508 Elderly couple from the countryside bowing in the old style 12 Takeyoshi Tanuma 1929- Imperial Palace Square, Tokyo 1963 557 x 457 761 x 610 The Map:Photographs of a member of the Special 13 Kikuji Kawada 1933- Attack Corps 1960-1965 432 x 558 610 x 761 14 Kikuji Kawada 1933- The Map:Summer jacket of a junior high school boy 1960-1965 432 x 558 610 x 761 The Map: Notes for the will of a member of the special 15 Kikuji Kawada 1933- Attack Corps 1960-1965 432 x 558 610 x 761 The Map:The ruin of a stronghold.