The short-lived Japanese magazine Provoke is recognized as a major achievement in world photography of the postwar era, uniting the country's most contentious examples of protest photography, vanguard fine art, and critical theory of the late 1960s and early 70s in only three issues overall. Provoke is accordingly treated here as a model synthesis of the complexities and overlapping uses of photography in postwar Japan. The writing and images by Provoke's members - critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yutaka Takanashi, Daido Moriyama - were suffused with the tactics developed in some Japanese protest books which made use of innovative graphic design and provocatively "poor" materials. Recording live actions, photography in these years was also an expressive form suited to emphasize and critique the mythologies of modern life with a wide spectrum of performing artists such as Nobuyoshi Araki, Koji Enokura and Jiro Takamatsu. This catalogue accompanies the first exhibition ever to be held about the magazine and its creators and focuses on its historical context. It covers the preliminary period leading to its first and the aftermath following its last issue. Provoke takes shape as a strongly interpretative explanation of currents in Japanese art and society at a moment of historical collapse and renewal.
Written by a team of distinguished scholars, this book establishes that photography began to play a vital role in Japanese culture after its introduction in the 1850s. 350 illustrations.
During the 1960s, a group of artists challenged the status quo in Japan through interventionist art. William Mariotti situates the artists in relation to postwar Japan and the international activism of the 1960s.
Author: Doryun Chong, Michio Hayashi, Mika Yoshitake, Miryam Sas, Museum of Modern Art (New York, N.Y.)
Publisher: The Museum of Modern Art
Catalog of an exhibition held at the Museum of Modern Art, New York, Nov. 18, 2012-Feb. 25, 2013.
The Protest Box
Author: Gerry Badger
Martin Parr's The protest box is a box set which brings together five photobooks as facsimile reprints. Parr has selected diverse books which each deal with the subject of protest in quite different ways. From the documentation of various protest movements to the actual book being a form of protest, all these reprints are gems within the history of photographic publishing. The box set is accompanied by a booklet which includes an introduction by Martin Parr, an essay discussing the wider context of these books by Gerry Badger, and English translations of all the texts in the books.
In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. This book explores the theoretical and cultural implications of experimental arts in a range of media.
Author: William Andrews
Publisher: Oxford University Press
Conformist, mute and malleable? Andrews tackles head-on this absurd caricature of Japanese society in his fascinating history of its militant sub-cultures, radical societies and well-established traditions of dissent Following the March 2011 tsunami and Fukushima nuclear crisis, the media remarked with surprise on how thousands of demonstrators had flocked to the streets of Tokyo. But mass protest movements are nothing new in Japan and the post-war period experienced years of unrest and violence on both sides of the political spectrum: from demos to riots, strikes, campus occupations, faction infighting, assassinations and even international terrorism. This is the first comprehensive history in English of political radicalism and counterculture in Japan, as well as the artistic developments during this turbulent time. It chronicles the major events and movements from 1945 to the new flowering of protests and civil dissent in the wake of Fukushima. Introducing readers to often ignored aspects of Japanese society, it explores the fascinating ideologies and personalities on the Right and the Left, including the student movement, militant groups and communes. While some elements parallel developments in Europe and America, much of Japan's radical recent past (and present) is unique and offers valuable lessons for understanding the context to the new waves of anti-government protests the nation is currently witnessing.
No Man's Land
Author: Ann Thomas, Lynne Cohen, National Gallery of Canada
"No Man's Land" is a surreal and terrifying place. It is a world empty of the living, consisting entirely of strange, often sinister interiors: spas that look like forensic laboratories; classrooms that fill us with vague, unsettling fears; offices; military installations; mortuaries....
Author: Alessandra Mauro
Publisher: Contrasto Due
A history of photographynarrated through exhibitions and the theorythat has accompanied it has never been carried outyet. It would be very interesting, furthermore, to traceback the different aesthetic schools and communicationtheories that have pointed out the evolution ofthe history of photography and its public momentspar excellence: exhibitions.Installations manifest values,ideologies, politics and aesthetics.
Author: Marc Feustel
Publisher: Flammarion-Pere Castor
"From the end of the Pacific War in 1945 to the Tokyo Olympic Games in 1964, Japan underwent an extraordinary transformation: from a nation ravaged by the destruction of war, Japan became a rising economic power. This period of radical change generated an unprecedented creative energy which breathed new life into Japanese photography. By the mid-1950s, Japan was at a crossroads between tradition and modernization, a moment fraught with contradiction, immortalized by the most talented photographers of the time." "The 150 photographs in this collection represent a unique vision of a nation struggling to define itself. These images are accompanied by essays from renowned Japanese experts, who provide social and historical insight into this period and its photographic output. The first comprehensive review of this period in Japanese photography, Japan: A Self-Portrait offers a tribute to the nation's strength and solidarity in the face of profound upheaval and a rare chance to view the depth of its artistic talent."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Author: Matthias Harder, Erik Kessels
We are pleased to offer a limited quantity of signed copies of Daido Moriyama's "Journey for Something" (the unsigned trade edition is now sold out). Moriyama first attracted international attention in the 1970s, with his gritty, black-and-white photographs of Shinjuku, a bustling area of Tokyo. Published for a spring 2012 exhibition at Galerie Alex Daniels-Reflex, Amsterdam, and with more than 230 large-scale images, "Journey for Something" offers an exciting overview of Moriyama's new work, as well as his classic images and some never-before-seen photographs that have been carefully selected by the artist for this volume. Many of Moriyama's photographs are shot with a hand-held camera, at times through a window or from across the street. Comprising an assortment of playful and almost surrealist images reproduced in large format, "Journey for Something" follows Moriyama from Tokyo to Osaka, from shimmering rows of nightclubs to shoes dangling from a telephone wire and a man running naked through the streets.
This heavy, glossy, slipcased, reprinted reinterpretation of the legendary 1972 book, Farewell Photography, brings a much-sought-after classic back into print under the strict supervision of the artist, Daido Moriyama. Together with the publisher, Moriyama worked with larger prints and chose higher contrasts, abolishing all text in order to emphasize the dynamic, broken, blurred, vertiginously tilted, starkly cropped and timeless photography reproduced here. Moriyama is one of the most respected and influential photographers today, and this book bears the testimony of his early work, with all of its alluring landmark elements. Almost resulting in mayhem, these accidentally continuous black-and-white images can feel both invasive and intimate, as they freeze the animate and inanimate world before it is gone. An overwhelming torrent of early talent by an extraordinary artist.
Author: Imogen Cunningham
Author: Shomei Tomatsu
One of Japan's foremost twentieth-century photographers, Shomei Tomatsu has created a defining portrait of postwar Japan. Beginning with his meditation on the devastation caused by the atomic bombs in "11:02 Nagasaki," Tomatsu focused on the tensions between traditional Japanese culture and the nation's growing Westernization, most notably in his seminal book "Nihon." Beginning in the late 1950s, Tomatsu photographed as many of the American military bases as possible--beginning with those on the main island of Japan and ending in Okinawa, a much-contested archipelago off the southernmost tip of the country. Tomatsu's photographs focused on the seismic impact of the American victory and occupation: uniformed American soldiers carousing in red-light districts with Japanese women; foreign children at play in the seedy landscape of cities like Yokosuka and Atsugi; and the emerging protest- and counter-culture formed in response to the ongoing American military presence. He originally named this series "Occupation," but later retitled it "Chewing Gum and Chocolate" to reflect the handouts given to Japanese kids by the soldiers--sugary and addictive, but lacking in nutritional value. And although many of his most iconic images are from this series, the best of this work has never before been gathered together in a single volume. Leo Rubinfien, co-curator of the photographer's survey "Skin of the Nation," contributes an essay that engages with Tomatsu's ambivalence toward the American occupation and the shifting national identity of Japan. Also included in this volume are never-before-translated writings by Tomatsu from the 1960s and 70s, providing context for both the artist's original intentions and the sociopolitical thinking of the time. Shomei Tomatsu (1930-2012) played a central role in Vivo, a self-managed photography agency, and founded the publishing house Shaken and the quarterly journal "Ken." He participated in the groundbreaking "New Japanese Photography" exhibition in 1974 at The Museum of Modern Art, New York, and, in 2011, the Nagoya City Art Museum featured "Tomatsu Shomei: Photographs," a comprehensive survey of his work.
'Provoke' is the title of the magazine founded in 1968 by a group of Japanese photographers, graphic designers, poets, critics, and political activists. Moriyama's photography is indeed provocative, both for the form it takes (dirty, blurry, overexposed,or scratched) and for its content.