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2014, Jul 04
Motoyuki Daifu at Little Big Man Gallery, LA

© Motoyuki Daifu

Motoyuki Daifu 1 will hold an exhibit of his work “My family is a Pubis, so I cover it in Pretty Panties” at the new Little Big Man Gallery 2 in Los Angeles. It runs from 7/19 – 8/31, so I think I’ll just catch the end of it.


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2014, Jun 30
Tokyo at the Getty

© Mikiko Hara

The Getty will be showing “In Focus: Tokyo,” from August 5 to December 14, 2014 1. This exhibit collects the work of Shigeichi Nagano, Mikiko Hara, Masato Seto and Daido Moriyama. I think there will be a lecture event of some sort in October, but I don’t have the details yet. I will look forward to seeing the work of Nagano and Hara in particular.


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2014, Jun 25
Two perspectives on Tokyo’s 1945 Air Raid

Last month I spent a week in Berlin, and I was struck by the frequency with which the city reminds you of its history. It seemed impossible to walk more than 200 meters without finding a plaque or memorial commemorating something about Berlin’s past. Of course it wasn’t just the city itself: Berliners (the ones I met, at least) were also conscious of this history, and in particular the history of World War II bombings. When I told people the name of the street where I was staying, I often heard something like: “Ah, Alexandrinenstrasse… There’s not so much there, huh? It was completely bombed out in the war, you know.” Naturally, this experience gave me pause to think about how my home city—home for a few more weeks, at least—more or less ignores its own history. Tokyo, after all, was also razed during the war, yet apart from a small memorial 1 there is hardly any visible trace of this fact today.

Of course, Tokyo is now so densely packed that plunking down a memorial in a central location would probably be quite difficult, and (to my limited knowledge) there are no longer any patches of undeveloped land as a result of WWII bombings. Still, I can’t help but think that the city’s own lack of awareness about its past extends to its residents: my own experience really must be taken with a grain of salt, but I have never had any sort of conversation about Tokyo during the war, or in particular the firebombings of March 10, 1945. (I am told that certain groups gather to remember this day.) In any case, when I came back to Tokyo, I was curious to learn more about this significant event which seems to have been put out of sight, out of mind.

I was glad, then, to receive an email from my friend David Fedman with a link to his latest research paper, written together with Cary Karacas, “The Optics of Urban Ruination: Toward an Archaeological Approach to the Photography of the Japan Air Raids.” 2 This paper seems to me extremely well-researched and, quite happily—despite its cumbersome title—highly legible to a non-academic audience. The information that Fedman and Karacas have unearthed, which ranges from the development of aerial photography to the specific methods the United States military used to analyze photographs of Japanese cities, is highly suggestive. Free of any clumsy theorization—an academic specialty, of course, check back with me in a couple of years—the presentation of this material shows very clearly how photography can be integrated into military strategy.

Yet this research does not focus only on the aerial, i.e. American perspective; it also analyzes the photographs of Koyo Ishikawa, a photographer in the employ of the Tokyo Metropolitan Police who is perhaps the only person to have photographed the immediate aftermath of the March 10 bombings on the ground. It sounds like Ishikawa has only been given the most cursory of treatments by historians up until this point, and his photographs have been un- or mis-credited even when they were published. (I was happy to read about the history of Ishikawa’s reception, not just by civilian audiences but indeed by the American military itself.) Fedman and Karacas are successful at showing why this, ah, Street Level perspective is necessary for understanding such an event.

The paper’s weakest point is probably its analysis of the reception of Ishikawa’s unflinching photos at a personal (or phenomenological) level, in other words the effect that looking at such images creates in the viewer. Still, this is a work of history, not art theory, and to investigate such a question thoroughly would be a different kind of work altogether. On the whole, I think this paper will give readers interested in photography—not just Japanese photography—a lot to think about. It’s also worth mentioning that Karacas runs a site, japanairraids.org 3, that offers further information and links to other talks and papers on this subject.

1
http://en.wikipedia.org/wiki/Yokoamicho_Park: Which I’d never heard of until I started searching

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2014, Jun 23
Hiroshi Takizawa, “figure”

I am looking forward to seeing Hiroshi Takizawa’s 1 solo exhibit “figure,” which opens this weekend at JIKKA 2, a gallery in Suehirocho. The show will run from 6/27 – 7/12.

Update 7/4: This show is excellent.


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2014, Jun 20
End of PH

With other changes afoot, PH 1 (the online bookstore Andrew and I have been running for the past couple of years) will come to a close around the end of the month. We’re running a small sale; more information is up on Twitter 2. I would highly recommend the following books, based on their quality and their difficulty to acquire outside of Japan.


Shingo Kakita, Saddles 3 (¥1000, roughly $10 at today’s exchange rate)

I am a firm believer in Kakita’s abilities, and I would not be surprised if this goofy zine gets a proper book treatment down the road.

Ryudai Takano, Kasubaba 4 (¥6000)

I think I’ve gone on about Kasubaba a few times before, but I have no shame in saying once more that this book is a deliciously subversive take on the street snapshot, in which Takano pushes the genre to reach an uncomfortable apex of ugliness and banality. Kasubaba is love letter, of sorts, to Japan’s most soul-sucking spots.

Daisuke Yokota, Kazuo Yoshida, Masaru Eguchi, Ryo Fujimoto, MP1 Artist’s Book: Expanded Retina 5 (¥1500)

I’m not going to try to tell you that this book will become the Provoke of its generation, because that probably won’t happen. Still, MP1 is pretty much the only proper group to emerge from Japan’s current crop of young photographers, and that fact in itself—as well as English translations for every text here—makes this publication worthwhile.

Once the store is shut down, I think it will stay up as a way for people to at least have a glimpse of these books. In the time since we’ve opened, Shashasha 6 has emerged as another good option for buying Japanese books, and the original in the field, Japan Exposures 7, is still going strong. It also seems like foreign stores (online or otherwise) are carrying a broader range of Japanese books. Still, I’d like to think that PH offered a different take on the Japanese scene, and more than anything I hope that we were able to stimulate some people in other parts of the world. As with anything, I imagine we probably won’t find that out for years, if ever. In any case, thanks for all your support.


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2014, May 05
Image And Matter In Japanese Photography From The 1970s

If you are in New York, I highly recommend seeing the exhibit “Image And Matter In Japanese Photography From The 1970s,” curated by Yumiko Chiba, at Marianne Boesky Gallery 1 from May 8 to June 14. The show will feature works by Norio Imai, Masafumi Maita, Jiro Takamatsu, Keiji Uematsu, Kanji Wakae and Katsuro Yoshida. It should be an excellent opportunity to see 70s conceptual photography from Japan. Not to be missed! 


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2014, Apr 24
Keizo Kitajima, “Untitled Records”

I have not written as much about Keizo Kitajima as I would have liked; his work interests me quite a lot, in no small part because of the progression of his career, from black-and-white Moriyama snapshot disciple to crisp, large format color urban landscape photographer. He has produced a number of noteworthy photobooks, but I would like to give a special mention to his project USSR 1991 1, which was realized as a photobook by Little Big Man.

Kitajima has just started a project called Untitled Records, which will consist of 25 exhibitions (to be held four times a year) at photographers’ gallery 2 in Shinjuku. A small, reasonably-priced booklet will accompany each exhibit. The first exhibit, which consisted of three images taken in Tohoku after the earthquake, just closed last week. The good news for people outside of Japan—and indeed, the reason that I’m writing about the show here—is that Kitajima has created a website 3 to track the progress of the project.

I look forward to tracking it myself as a “person outside of Japan,” because I am returning to America in just a matter of months; this September, I will start a PhD program in Art History at UCLA. “Street Level Westwood”? I don’t think so.

2
http://pg-web.net/: Kitajima’s own gallery, and these days my “favorite photo gallery in Tokyo”

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2014, Apr 22
Noted

Roppongi Station

LIRR

These are extreme examples, but I think on some level this post speaks for itself. How to read these images is another question.

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