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Displaying records 71 - 80 of 178.
The relationship between words and images was so important to Takuma Nakahira that he titled his 1970 photobook For a Language to Come. The photos are a collection of alienated landscapes,...
3. Takuma Nakahira. <em>For a Language to Come in The Japanese Box : Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era</em>. Paris: Edition 7L; Göttingen: distributed by Steidl Publishers, 2001, [p.126-127].
The greatest impact of Provoke was not stylistic, but that it brought self-expression into photography. Nobuyoshi Araki described Provoke as "like a bomb... I was jealous, I wanted...
2. Nobuyoshi Araki. <em>Sentimental Journey in The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era</em>. Paris: Edition 7L; Göttingen: distributed by Steidl Publishers, 2001, [p.78-79].
Matt Keegan discusses his previous works that relate to the site-specific installation in the exhibition Exposure which grew out of the artist’s longstanding fascination with cities and...
Audio Lecture: Exposure—Matt Keegan
One of the few women photographers in Japan in the 1970s was Miyako Ishiuchi. In her 1977 series Yokosuka Story, she returns to her hometown Yokosuka, also the home of a U.S. naval base...
1. Ishiuchi, Miyako. <em>Sweet Home Yokosuka 1976-1980</em>. New York: PPP Editions in association with Andrew Roth, Inc., 2010, cover.
Fukase Mishima, several years older than Araki, was born into a family of portrait photographers. He was originally influenced by the photojournalism of Ken Domon and Ihee Kimura, but going to school...
3. Mark Holborn. <em>Black Sun: The Eyes of Four, Roots and Innovation in Japanese Photography</em>. New York: Aperture, 1986, [p.54-55].
The third issue (August, 1969) was printed on rougher paper to emphasize the bure, boke photography. Takanashi's disconcerting pictures of fashionable young people now had no context, and on...
3. <em>Purov&#333;ku: shis&#333; no tame no ch&#333;hatsuteki shiry&#333; (Provoke No. 3) </em>. Tokyo, Purov&#333;ku-sha, 1969, [p.22-23].
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