The early years of the 20th-century were a time of trmendous change and growth for Japan, which was reflected in the photography that emerged at the time. By the end of the 19th-century, a new generation of photographers was emerging, many of whom studied in a system that was integrating Western ideas into Japanese culture. As Japan made the transition into an industrialized economy, artists began to establish themselves in the international arena. The pre-war modern photography movement in Japan flourished with a rich exchange of ideas and information as aritsts studied in Europe and international artistic developments were explored through exhibitions and publications in Japan. "Modern Photography in Japan: 1915-1940"will present over 80 images, many of which have never been seen before in the United States, by 35 photographers whose work evolved from a pictorialist tradition to the beginning of a modernist aesthetic. 
Essay by Ryuichi Kaneko. Foreword by Norihiko Matsumoto. Introduction by Deborah Klochko. 
82 color. 8.5 x 10 in.

Modern Photography in Japan 1915-1940

Arts & Photography

Kaneko, Ryuichi

Photography & Video

Friends of Photography Bookstore

The public profile of the Japanese photography book has recently boomed, from near-complete obscurity to great desirability. And not only for the aficionados. Photobooks that once were entirely unknown outside Japan (except to a few well-informed scholars and collectors) now sell at astronomical prices at auctions and online. And yet the photobook has been central to the development of Japanese photography, particularly in its postwar phase. To sketch the stages of this boom: 1999's Fotografia Publica included just one Japanese photobook, Kiyoishi Koishi's Early Summer Nerves of 1937, plus two photo magazines from the 1930s, Nippon and Koga; Andrew Roth's The Book of 101 Books (2001) listed four seminal titles by Hosoe, Kawada, Araki and Moriyama; but it was not until 2004, with the first volume of Martin Parr and Gerry Badger's indispensable The Photobook: A History, that it began to be clear what a rich body of work awaited excavation. Jap

Japanese Photobooks of the 1960s and '70s

Vartanian, Ivan

Aperture

Japanese Photobooks of the 1960s and 70s

The short-lived Japanese magazine Provoke, founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine's goal was to mirror the complexities of Japanese society and its art world of the 1960s, a decade shaped by the country’s first large-scale student protests. The movement yielded a wave of new books featuring innovative graphic design combined with photography: serialized imagery, gripping text-image combinations, dynamic cropping and the use of provocatively "poor" materials. The writings and images by Provoke's members―critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama―were suffused with the tactics developed by Japanese protest photographers such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at and criticized the mythologies of modern life. Provoke accompanies the first exhibition ever to be held on the magazine and its creators. Illuminating the various uses of photography in Japan at the time, the catalogue focuses on selected projects undertaken between 1960 and 1975 that offer a strongly interpretative account of currents in Japanese art and society at a moment of historical collapse and renewal.

Provoke: Between Protest and Performance: Photography in Japan 1960–1975

Nobuyoshi, Araki

MORIYAMA, DAIDO

Hosoe, Eikoh

Steidl

With over 1,300 illustrations, this heavily illustrated book shows how photography magazines continually served as a genre-defining platform for photography in Japan. This book also features an extensive amount of photographers’ writings that first appeared in these magazines. Such writings include texts by Araki Nobuyoshi, Fukase Masahisa, Hosoe Eikoh, Kawada Kikuji, Kimura Ihei, Moriyama Daido, Narahara Ikko, Sako Kōichi, Yasui Nakaji, as well as writings by Tanikawa Shuntarō, Terayama Shūji, among many others. Japanese Photography 1880s to 1980s shows Japan’s unique photography magazine culture and how it became genre-defining. Starting with the earliest camera-related publications in the 19th century through to the end of the magazine's golden era in the 1980s, this book immerses the reader into the work of well-established as well as overlooked photographers, representing a broad range of imagery and approaches. Each of the featured magazine stories are accompanied with authoritative historical information, which, as a whole, provides the reader with a balanced and nuanced survey of this history of Japanese photography. This gives the reader a grounding into the core concepts and vocabulary for understanding the definitive characteristic of photography from Japan. Nearly all of the stories that are featured in this volume are reproduced in their entirety, making this volume an invaluable resource for researchers, collectors, general readers, and photography fans.

Japanese Photography Magazines, 1880s to 1980s

Ivan Vartanian

Toda, Masako

Goliga

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Books by Kaneko, Ryuichi