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Posts from the “Japan” Category

Revisiting “Minamata,” W. Eugene Smith’s Final Photo Series

Posted on June 3, 2021

Photo: W. Eugene Smith. © Aileen Mioko Smith

By 1971, American photographer W. Eugene Smith (1918–1978) had become a shadow of his former self, a shell-shocked recluse with a drinking problem who had retreated into the seclusion of his New York studio and home. Smith was alone, surrounded only by the remnants of his career as a world-renowned photojournalist.

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Under the red light of the darkroom bulb Smith’s photographs hung, mementos of the best and worst of humanity. After getting his start in 1939 for Newsweek, Smith began shooting for Life the following year, compiling a compendium of work that made him one of the most influential photojournalist of the twentieth-century. A master of the photo essay, Smith, who became a member of Magnum Photos in 1955, documented war and peace, poverty and beauty in equal part.

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In the 1960s, while Smith risked his life to bear witness to the destruction and salvation of humanity, halfway around the world the Chisso Corporation’s chemical factory was poisoning the fishing village of Minamata, Japan. Between 1932 and 1968, the factory released wastewater contaminated with toxic methylmercury, poisoning the water and sea life consumed by locals. As of 2001, 2,265 people were afflicted with Minamata disease, a neurological disorder that causes muscle weakness, damage to hearing, vision, and speech, as well as insanity, paralysis, coma, and death. The first case was reported in 1956; since then 1,784 have died as a result.

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Read the Full Story at Blind

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Photo: W. Eugene Smith. © Aileen Mioko Smith
Photo: W. Eugene Smith and Aileen Mioko Smith. © Watanabe Elichi

Categories: Art, Blind, Books, Japan, Photography

Kohei Yoshiyuki: The Park

Posted on August 22, 2019

© Kohei Yoshiyuki, courtesy of Radius Books/Yossi Milo.

Under the cover of darkness, Japanese photographer Kohei Yoshiyuki crept through Tokyo’s Shinjuku, Yoyogi, and Aoyama Parks during the 1970s, in search of an illicit world known to a select few. Moving like a hunter on the prowl, Yoshiyuki used infrared film and flash to capture public displays of sex between heterosexual and homosexual couples—and, perhaps more shockingly, the voyeurs who gathered to watch.

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“One day I stumbled on the scene—and [an] incredible scene [Laughs]. That was when I was still an amateur,” Yoshiyuki tells Nobouyoshi Araki in a conversation titled “Tiptoeing into the Darkness…With Love,” featured in the new book Kohei Yoshiyuki: The Park.

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“I was shocked. They were actually fucking,” Yoshiyuki says. “When I saw them I knew this was something I had to photograph.”

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Read the Full Story at Document Journal

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© Kohei Yoshiyuki, courtesy of Radius Books/Yossi Milo.

© Kohei Yoshiyuki, courtesy of Radius Books/Yossi Milo.

Categories: 1970s, Art, Books, Document Journal, Japan, Photography

Rosalind Fox Solomon Wins 2019 ICP Lifetime Achievement Award

Posted on March 27, 2019

Rosalind Solomon (b. 1930) An East Village Painter, NYC, 1986 © Rosalind Fox Solomon, Courtesy of Bruce Silverstein, New York

American photographer Rosalind Fox Solomon is a master of precision and poise, capturing the most compelling moments in life. On April 2 – her 89th birthday –Solomon will receive the Lifetime Achievement Award from the International Centre of Photography.

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Solomon came to photography later than most, picking up an Instamatic camera at the age of 38 to create a visual diary of her experiences in Japan. She was in the country doing volunteer work with the Experiment in International Living, a summer abroad program for high school students.

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“I felt an intimacy with the camera and great excitement at being able to see and photograph an intriguing culture which I had not known before,” Solomon recalls. “With that point and shoot camera, I began to awaken a more contemplative part of myself. I found myself in a meditative state, looking, thinking and feeling. I had a sense of being self-sustaining, silent, and intensely connected to a new world.”

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Read the Full Story at Huck Online

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Rosalind Solomon (b. 1930). Self-portrait with curtain, Rotterdam, Netherlands, 1987 © Rosalind Fox Solomon, Courtesy of Bruce Silverstein, New York

Categories: 1960s, 1970s, 1980s, 1990s, Art, Japan, Photography

Araki: Impossible Love – Vintage Photographs

Posted on March 20, 2019

Photo: Ohne Titel, a.d.S. The Days We Were Happy, 1975 © Nobuyoshi Araki. Courtesy of Privatsammlung Eva Felten

For over half a century, Japanese photographer Nobuyoshi Araki has devoted himself to plumbing the depths of that which is most intimate – the invisible, intangible spirit that animates our very flesh. In his hands, the erotic transcends the mere functionality of pornography and reveals the raw intensity of the emotional, physical, and psychological self that gives sex its power.

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At 78, the prolific artist has published over 500 books, including his latest offering Araki: Impossible Love – Vintage Photographs, out today. Arranged chronologically, the book maps Araki’s oeuvre as it unfolds, transforming his photo diary into a visual autobiography of a singular, subversive life in art.

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Read the Full Story at AnOther

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Kinbaku, 2010, Polaroid
© Nobuyoshi Araki. Courtesy of artspace AM, Tokyo

Categories: 1960s, 1970s, 1980s, 1990s, AnOther, Art, Books, Japan, Photography

Adreinne Waheed: Black Joy and Resistance

Posted on January 17, 2019

© Adreinne Waheed

Hailing from Oakland, California, Adreinne Waheed took up photography at the age of 13 and never put the camera down. Inspired by the work of Roy DeCarava and Gordon Parks, Waheed has dedicated her life to celebrating the beauty and resilience of the African diaspora.

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In her new book Black Joy and Resistance, Waheed does just this, bringing us inside the 2015 Million Man March, #FeesMustFall, and Carnival in Bahia, as well as Brooklyn’s own West Indian Day Parade, Afropunk, Dance Africa, and Soul Summit.

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“Every image in this book was photographed at a large public event,” Waheed says. “What ties them together is the celebration of black and brown cultures and the resistance of conformity, oppression patriarchy, etcetera. Music, dance, art and other forms of passionate expression are elements that are interwoven throughout.”

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Read the Full Story at Huck

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© Adreinne Waheed

© Adreinne Waheed

Categories: Africa, Art, Books, Brooklyn, Japan, Latin America, Photography

Yasumasa Morimura: Ego Obscura

Posted on November 15, 2018

Yasumasa Morimura, “Doublonnage (Marcel)” (1988)Courtesy of the artist and Luhring Augustine, New York. © Yasumasa Morimura

“In the end, what is history? And what is historical truth? These are questions that do not have ready answers,” Japanese artist Yasumasa Morimura asks in “egó sympósion”, the preface he pens in the catalogue for Ego Obscura, a 30-year retrospective of photographic work in which he transforms iconic works of art and pop culture into self-portraits.

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Whether presenting himself as Marilyn Monroe in the famous Playboy centerfold, appearing as Frida Kahlo standing bare-breasted in her brace, or portraying Marcel Duchamp’s alter ego Rrose Sélavy, Morimura surgically deconstructs the concept of “the self” to explore the perils of binary thinking that accompany our assumptions of race, gender, sexuality, and identity, and the ways in which we ensconce them in the pantheon of cultural memory and art history.

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“Various truths are concealed in many paintings,” Morimura continues. “On the other hand, a painting can be seen as a fake, something caked with falsehoods and misunderstandings. A painter’s testimony is at once a confession of a hidden truth and an attempt to overwrite their life with a false statement.”

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Read the Full Story at Dazed

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Yasumasa Morimura, “Une moderne Olympia” (2018)Courtesy of the artist and Luhring Augustine, New York. © Yasumasa Morimura

Yasumasa Morimura, Still from Ego Obscura

Categories: 1980s, 1990s, Art, Books, Dazed, Exhibitions, Japan, Painting, Photography

Masahisa Fukase: Private Scenes

Posted on September 28, 2018

Sasuke, from the series Game, 1983. © Masahisa Fukase Archives.

For more than two decades, the work of Japanese photographer Masahisa Fukase has been largely inaccessible. Following his death in 2012, the archives were gradually disclosed, revealing a trove of wonders never seen before. Among the most radical artists of his time, Fukase is now being celebrated with Private Scenes, a large-scale retrospective of original prints that will be on view at Foam, Amsterdam, from September 7 – December 12, 2018. Editions Xavier Barral will publish the accompanying catalogue, to be released on October 23.

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Born in 1934 in Bifuka, in the northern region of the island of Hokkaido, Masahisa Fukase was destined to a life in photography. As the eldest son, Fukase was groomed to take over the family photo studio, founded by his grandfather in 1908. By the age of six, he was already helping to rinse the prints – and he stayed with the family business until moving to Tokyo in 1952 to study photography.

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Fukase was notable for both his choice of subject matter, and his presentation of it. He was remarkably able to translate his personal struggles of loss and depression into playful and lighthearted looks at some of the most difficult aspects of life and death. This first became evident in the 1961 exhibition, Kill the Pig, which brought the young artist public acclaim. Here, the Fukase presented studies of his pregnant wife Yoko and still-born child in combination with photographs made in a slaughterhouse, providing a tender reflection on love, life and death.

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Read the Full Story at Feature Shoot

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Bukubuku, 1991. © Masahisa Fukase Archives.

Categories: 1970s, 1980s, 1990s, Art, Books, Exhibitions, Feature Shoot, Japan, Photography

Then They Came For Me: Incarceration of Japanese Americans During World War II

Posted on May 11, 2018

Dorothea Lange, Oakland, California, March 13, 1942. Courtesy National Archives and Records Administration.

Dorothea Lange, Centerville, California, May 9, 1942. Courtesy National Archives and Records Administration.

It has been said that history repeats itself – and if this is true it is because the majority of people are pragmatists. For them, life occurs through a lens of cognitive dissonance framed by confirmation bias. They seek reinforcement of opinion in place of truth, relying on other people to tell them what and how to think. They prefer the appearance of goodness over goodness itself, forgoing sacrifices that would require they take radical responsibility in the name of self reliance.

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As a result, mythological narratives become objects of faith and become rooted in identity, where integrity should be. Invariably, when push comes to shove, they shrug. It’s not their problem – until it is. And by then, they’ve passed the tipping point and it’s much too late.

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All of this could be avoided were people willing to acknowledge that myths are not truth, that historical fact consistently undermines the veracity of their sacred cows and renders them nothing more than illusions. Let us consider the idea that the United States is the “land of the free and the home of the brave,” as they claim in “The Star Spangled Banner” (the same song that explicitly endorsed the killing of slaves).

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Despite the rhetoric we know these words to be untrue, as proven time and again by the actions of the United States government. A pervasive prejudice exists, cowering in the shadows and consistently reasserting itself with abject violation of the Constitutional rights of this nation’s citizens. Consider Executive Order 9066, signed by President Franklin D. Roosevelt on February 19, 1942, issued in response to the attack on Pearl Harbor.

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Read the Full Story at Feature Shoot

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Toyo Miyatake, Hand and Barbed Wire, ca. 1944. Courtesy Toyo Miyatake Studio.

Categories: Art, Exhibitions, Feature Shoot, Japan, Photography

Daido Moriyama and the Aesthetics of Punk

Posted on February 26, 2018

© Daido Moriyama Photo Foundation. Courtesy of Michael Hoppen Gallery

“Pachinko”, 1982. © Daido Moriyama Photo Foundation. Courtesy of Michael Hoppen Gallery

Born in 1938 in Osaka, Japan, Daido Moriyama has become one of the pre-eminent fine art photographers of our times. As witness to the changes that transformed Japan after World War II, Moriyama used the camera to expose a side of his native land that few outsiders know, creating a body of work that is gritty and jarring, yet profoundly beautiful.

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Moriyama first arrived in Tokyo in 1961 and began working as a freelance photographer in 1964. It was during the ’60s that he developed his distinct style, stripping the photograph down to its bare bones, embodying the pure D.I.Y. ethos of punk in visual form and providing a fresh new way of seeing the world.

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He first came to the attention of the world in 1974, when his work was included in the New Japanese Photography exhibition at the Museum of Modern Art, New York. Since then, his profile has continued to grow, with his work influencing generations of artists who can’t help but imitate the iconoclastic master of the form.

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Read the Full Story at Huck Online

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Hawaii, 2007/2008 © Daido Moriyama Photo Foundation. Courtesy of Michael Hoppen Gallery

Categories: 1960s, 1970s, 1980s, 1990s, Art, Exhibitions, Huck, Japan, Photography

Meg Hewitt :Tokyo Is Yours

Posted on October 27, 2017

Photo: Meg Hewitt. Johnny, Golden Gai 2015

Photo: Meg Hewitt. Legs – after Daido, 2016

In March 2011, disaster befell Japan as the Great Earthquake, tsunami, and Fukushima Daiichi nuclear disaster hit the nation in record time. Five years later, Japan’s prime minister Naoto Kan revealed that the country came within a “paper-thin margin” of nuclear destruction that would have required the evacuation of 50 million people – a feat he acknowledged was near impossible.

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As this science-fiction horror story played out in real time, Australian photographer Meg Hewitt began to imagine the density of Tokyo, the feeling of being trapped as a cloud of nuclear fallout spread, and the disturbing question of whether or not to trust the government and big business. For Hewitt, thinking was not enough: she needed to experience life in Tokyo for herself.

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Over a period of two years, Hewitt created a body of photographs inspired by the curious co-existence of darkness and light, trauma and innocence, death and life – which she crafted into the newly released monograph, Tokyo Is Yours. Hewitt combines the raw edge of Anders Petersen with the knowing glance of Daido Moriyama, the haunting glamour of Fritz Lang with the graphic traditions of Manga through a careful edit and sequencing that pairs unlikely moments to sublime effect.

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Read the Full Story at Huck

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Categories: Art, Books, Huck, Japan, Photography

Most Influential Artists of the Last 20 Years

Posted on May 2, 2017

Photo: Kusama’s Peep Show or Endless Love Show, 1966. Hexagonal mirrored room and electric lights. Installed at Castellane Gallery, New York, 1966. No longer extant. Courtesy of the Hirshhorn Museum and Sculpture Garden.

“This idea of art for art’s sake is a hoax,” no less than Pablo Picasso observed, recognizing the bourgeois mentality that drove narcissistic self-indulgence into the creative process was merely fraud.

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Indeed, art does not exist for itself; the greatest works are those that transform understanding into wisdom while revealing the truth of the times as not only a matter of the moment but of the underlying human condition. The best art is always one step ahead of where we find ourselves, predicting the future by bringing it to our attention today In celebration of the most influential artists of the last 20 years, Crave has compiled a list of men and women from all walks of life who work in a wide array of mediums, speaking truth to power.

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Read the Full Story at Crave Online

Categories: Art, Books, Brooklyn, Crave, Exhibitions, Graffiti, Japan, Painting, Photography

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