Focus on Japanese Photography centers on the work of artists whose practice has been key to the evolution of photography in Japan since the 1960s and whose photographs are represented in depth in SFMOMA’s permanent collection.
This page serves as the hub of the publication. From here, you can navigate to essays, bibliographies, and primary source documents on Japanese photography and pages devoted to the featured artists. On each artist page, you will find:
Selected exhibitions include presentations from 1997 on—the span of the online exhibition archive—and do not include permanent collection rotations.
The artist pages also include links to the following materials where available:
You can also access these additional resources directly from the menu on this page.
Focus on Japanese Photography launched in October 2017. An expanded version launched in February 2022. Artwork information reflects the most recent research undertaken by SFMOMA staff and will be updated as collection research continues.
By Sandra S. Phillips, November 2017
The San Francisco Museum of Modern Art has collected and exhibited modernist art expression from Japan for most of its history but has devoted special focus to Japanese photography from the 1960s to the present, making it an essential element of its program.[1] In 1975 the museum presented New Japanese Photography, organized by the Museum of Modern Art in New York the previous year. This exhibition marked the first international recognition of the important and unique work being made by photographers in Japan. Inspired by the show, Van Deren Coke, director of photography at SFMOMA from 1979 to 1987, corresponded with its co-curator Shoji Yamagishi, editor of the Tokyo-based photography magazine Camera Mainichi. In response, he received a group of original photographs from the magazine, including Daido Moriyama’s Misawa (1971), as gifts. In 1980 Coke donated these works to SFMOMA, where they formed the basis of the Japanese photography collection.[2]
In 1999 SFMOMA presented Daido Moriyama: Stray Dog, the artist’s first major show outside Japan. A retrospective of the work of Shomei Tomatsu followed in 2004, and by 2009 the museum’s holdings of Japanese photography had become substantial enough to support two presentations, The Provoke Era: Postwar Japanese Photography and Photography Now: China, Japan, Korea. In 2012 the museum showed Naoya Hatakeyama’s Natural Stories and received the first part of a gift of more than four hundred photographs from the Kurenboh Collection from Tokyo. This gift has immeasurably deepened the museum’s holdings in this area: it includes outstanding additions by leading practitioners who came of age in the decades after the war and, as important, has brought new breadth to the representation of younger artists. In 2016, with the museum’s opening following its major expansion, the exhibition Japanese Photography from Postwar to Now celebrated the importance of the Kurenboh gift as well as donations of other major works. It demonstrated the institution’s full commitment to photography from Japan, representing established photographers such as Tomatsu, Moriyama, and their contemporaries in depth, while pointing to the diversity and vitality of more recent work.
Photography was practiced in Japan shortly after the medium’s invention in Europe. The first daguerreotype camera was imported in 1848, and a significant commercial presence soon developed. By the early twentieth century a vibrant amateur community arose, and Japanese Pictorialism earned international respect. Most important, however, was the period after World War II, when Japan developed a distinctive and innovative photographic culture that continues to thrive. The country’s postwar constitution, drafted and adopted under Allied occupation, forbade the existence of its military forces, and therefore industry turned in part to nonmilitary uses of optics, chemistry, and technology. Photography was a beneficiary, and industrial leaders directed their attention toward the amateur market. In turn, popular photography magazines became widely available as monthly supplements in the country’s national newspapers, especially Asahi Shimbun and Mainichi Shimbun. These magazines supported many of the great talents of the field, photographers who were not journalists but used the medium for its particular expressive effect, among them Tomatsu, Moriyama, and Eikoh Hosoe. Since photography was not a widely acknowledged form of art expression, the photographic culture that arose was based not on fine prints, but on the presentation of work sequentially in publications. The seminal photographers of this moment focused on the production of photobooks, many of which came directly from their magazine work, and which have since been acknowledged as achievements of high aesthetic distinction.
By the 1960s the United States was escalating its military presence in Asia and using its bases in Japan to deploy forces in Vietnam. To Tomatsu, the Americans represented a foreign power poisoning the indigenous culture. For Moriyama, they were more ambiguous: besides the sense of danger they inspired, the Americans also brought a new sense of freedom and energy. Other photographers, such as Hosoe, essentially rejected the American presence in their work. Seeking out the mythological culture of the countryside, Hosoe found a quality of “essential” Japaneseness and a kind of indigenous modernism. He also photographed his friend Yukio Mishima, the radical conservative and novelist, in an extended, choreographed series. The American presence was a potent subject for Miyako Ishiuchi, a photographer of the next generation, who grew up in Yokosuka, a base city, where she felt endangered as a young woman and later returned to photograph the military population as a challenge and a confrontation to her remembered anxieties. She continues to address the history of U.S. engagement in her country, seen now in elegiac pictures of clothing found in Hiroshima following the atomic bombing.
Despite the country’s lack of abundant natural resources, Japan experienced spectacular growth in the postwar period due to the efficient manufacturing of high-quality products, sold competitively to the West. By the mid-1980s, however, its “economic miracle” suddenly collapsed, and by the early 1990s the country’s once-soaring stock and real estate prices had declined precipitously, initiating a period known as the “lost decades.” Both the vigorous growth and the recession have figured in work by Japanese photographers, including the depictions of perilous urban caverns by Osamu Kanemura in the 1990s and the destabilized visions of land observed from the sea by Asako Narahashi of the same period. The work of the philosopher-artist Naoya Hatakeyama, the most widely recognized figure in Japanese photography of his generation, comprises a meditation on the relationship of the works of humans and nature in Japan and elsewhere, and more recently on the reverberations of the 2011 Tohoku earthquake and tsunami, which devastated his northern hometown. During the late 1990s and early 2000s Japan witnessed the rise of many notable women photographers, especially Rinko Kawauchi and the younger Lieko Shiga. Photographers have also increasingly directed attention to life in Tokyo and other metropolitan centers, where the great majority of the population now lives. Pictures that emphasize the confusing or unnatural landscape of city streets or the special culture found there are abundant. There is also a corresponding focus on the Japanese countryside as the source of national culture and identity, now progressively depopulated and inhabited mainly by the elderly.
In recent years work from Japan has become central in the international photography field, with increased attention being paid both to prominent figures of the postwar period and to younger Japanese artists. This publication focuses on a selection of artists whose work has been key to the evolution of photographic practice in Japan and is represented in depth in this museum’s collection. It brings together new and newly published writings, reprinted texts, and video interviews, together with illustrated pages devoted to individual collection works. We thank Glen S. and Sakie T. Fukushima for their early support of this project, which we hope will serve as a useful resource for researchers and enthusiasts of Japanese photography worldwide.
Cite as: Sandra S. Phillips, “Introduction,” Focus on Japanese Photography, November 2017. San Francisco Museum of Modern Art, https://www.sfmoma.org/publication/focus-japanese-photography/contents
As Japan shifted to a consumer economy after World War II, its large newspaper companies began producing mass-market photography magazines. Such publications were important vehicles for circulating and supporting the new kind of photography that was emerging at the time—work that evinced a unique, indigenous, and highly expressive style, an often-unacknowledged art form unto itself. Principal among these magazines were the monthly Camera Mainichi, supported by Mainichi Shimbun (Daily News), and Asahi Camera, supported by the Asahi company (now Asahi Shimbun Shuppan). Camera Mainichi and Asahi Camera printed not only new and distinctive work by the generation of Japanese photographers then coming to maturity, notably Shomei Tomatsu, Daido Moriyama, and Eikoh Hosoe, but also pictures and critiques of pictures from Europe and the United States. Many pages were devoted to amateur work in the medium, with tips for taking better family photographs joining genuine criticism and discussions of major exhibitions and catalogues from overseas. There were also smaller, more personal magazines in circulation such as Miyako Ishiuchi and Asako Narahashi’s Main, which featured their work and experiences as experimental women photographers in Japan. This selection of articles and catalogue essays from the late 1950s through the 1980s exemplifies contemporary discourse about Japanese photography and its ties to the international photography community.
Compiled by Kelly Midori McCormick
Szarkowski, John, and Shoji Yamagishi, eds. New Japanese Photography / 『ニュー ジャパニーズ フォトグラフィー』 exh. cat. New York: Museum of Modern Art, 1974.
Yamagishi, Shoji, ed. Japan: A Self-Portrait, exh. cat. New York: International Center of Photography, 1979.
Dower, John W., ed. A Century of Japanese Photography. New York: Pantheon Books, 1980.
Holborn, Mark. Black Sun: The Eyes of Four, Roots and Innovation in Japanese Photography, exh. cat. New York: Aperture in association with the Arts Council of Great Britain, the Philadelphia Museum of Art, and the Museum of Modern Art, Oxford, 1986.
Yokoe, Fuminori, and Kohtaro Iizawa. 『日本のコンテンポラリー—写真をめぐる12の指標』 / Japanese Contemporary Photography: Twelve Viewpoints, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 1990.
Tokyo Metropolitan Museum of Photography. 『日本の写真、1970年代:凍結された「時」の記憶』 / Japanese Photography in the 1970s: Memories Frozen in Time, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 1991.
Munroe, Alexandra. Japanese Art after 1945: Scream against the Sky / 『戦後日本の前衛美術 : 空へ叫び』 exh. cat. New York: Harry N. Abrams in association with the Yokohama Museum of Art, the Japan Foundation, the Guggenheim Museum, and San Francisco Museum of Modern Art, 1994.
Nishii, Kazuo. 『なぜ未だ「プロヴォーク」か:森山大道、中平卓馬、荒木経惟の登場』 Tokyo: Seikyusha, 1996.
Thomas, Julia Adeney. “Raw Photographs and Cooked History: Photography’s Ambiguous Place in the National Museum of Modern Art, Tokyo.” East Asian History, no. 12 (December 1996): 121–34.
Hoaglund, Linda. “Interview with Tomatsu Shomei.” Positions: East Asia Cultures Critique 5, no. 3 (Winter 1997): 834–62.
Schimmel, Paul, ed. Out of Actions: Between Performance and the Object, 1949–1979, exh. cat. Los Angeles: Museum of Contemporary Art, 1998.
Phillips, Sandra S., and Alexandra Munroe. Daido Moriyama: Stray Dog, exh. cat. San Francisco: San Francisco Museum of Modern Art, 1999.
Schifferli, Christoph, Nakahira Takuma, Taki Koji, Nobuyoshi Araki, and Moriyama Daido, eds. The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era. Paris: Edition 7L/Steidl, 2001.
Taro Okamoto Museum of Art. 『日本発見—岡本太郎と戦後写真』 / Discover Japan: Taro Okamoto and Postwar Photography, exh. cat. Kawasaki, Japan: Taro Okamoto Museum of Art, 2001.
Tucker, Anne Wilkes, Dana Friis-Hansen, Kaneko Ryuichi, and Takeba Joe. The History of Japanese Photography, exh. cat. Houston: Museum of Fine Arts, Houston, 2003.
Rubinfien, Leo, Sandra S. Phillips, John W. Dower, and Daido Moriyama. Shomei Tomatsu: Skin of the Nation, exh. cat. San Francisco: San Francisco Museum of Modern Art, 2004.
Vartanian, Ivan, Akihiro Hatanaka, and Yutaka Kambayashi, eds. Setting Sun: Writings by Japanese Photographers. New York: Aperture, 2006.
Kaneko, Ryuichi, and Ivan Vartanian, eds. Japanese Photobooks of the 1960s and ’70s. New York: Aperture, 2009.
O’Leary, Thomas Francis. “Tokyo Visions: Contemporary Japanese Photography and the Search for a Subjective Documentary.” PhD diss., University of Southern California, 2009.
Tsuchiya, Seiichi. 「写真史・68年—〈写真100年〉再考」 / “The History of Japanese Photography in 1968—Reconsidering ‘A Century of Japanese Photography.’” Photographers’ Gallery Press, no. 8 (April 2009): 242–52.
Fukuoka, Maki. “Toward a Synthesized History of Photography: A Conceptual Genealogy of Shashin.” Positions: East Asia Cultures Critique 18, no. 3 (Winter 2010): 571–97.
Fujii, Yuko. “Photography as Process: A Study of the Japanese Photography Journal ‘Provoke.’” PhD diss., City University of New York, 2012.
Kai, Yoshiaki. “Sunappu: A Genre of Japanese Photography, 1930–1980.” PhD diss., City University of New York, 2012.
Yoshitake, Mika, ed. Requiem for the Sun: The Art of Mono-Ha, exh. cat. Los Angeles: Blum and Poe, 2012.
Masafumi, Fukagawa. “Is the World Beautiful? Moriyama Daido’s Provocation of the History of Photography.” Translated by Lena Fritsch. Art in Translation 4, no. 4 (January 1, 2012): 459–73. https://doi.org/10.2752/175613112X13445019280853.
Furuhata, Yuriko. Cinema of Actuality: Japanese Avant-Garde Filmmaking in the Season of Image Politics. Durham, NC: Duke University Press, 2013.
Kaneko, Ryuichi, and Hiroko Tasaka, eds. 『日本写真の1968:1966–1974沸騰する写真の群れ』 / 1968—Japanese Photography: Photographs That Stirred Up Debate, 1966–1974, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2013.
Nariai, Hajime, and Hiroko Shimizu, eds. 『ディスカバー、ディスカバー・ジャパン「遠く」へ行きたい 』 exh. cat. Tokyo: Tokyo Station Gallery, 2014.
Nakamori, Yasufumi, and Allison Pappas, eds. For a New World to Come: Experiments in Japanese Art and Photography, 1968–1979, exh. cat. Houston: Museum of Fine Arts, Houston, 2015.
Vartanian, Ivan. “Magazine Work.” “Tokyo,” special issue, Aperture, no. 219 (Summer 2015): 28–35.
Kim, Gyewon. “Reframing ‘Hokkaido Photography’: Style, Politics, and Documentary Photography in 1960s Japan.” History of Photography 39, no. 4 (December 2015): 348–65.
Aota, Yumi. 『写真をアートにした男:石原悦郎とツァイト・フォト・サロン』 / Etsuro Ishihara and Zeit-Foto Salon. Tokyo: Shogakukan, 2016.
Dufour, Diane, and Matthew S. Witkovsky with Duncan Forbes and Walter Moser, eds. Provoke: Between Protest and Performance—Photography in Japan 1960/1975, exh. cat. Göttingen, Germany: Steidl/LE BAL/Albertina/Fotomuseum Winterthur, 2016.
Takazawa, Kenji, and Naoko Shibata, eds. 『東京都写真美術館 総合開館20周年史一次施設開館から25年のあゆみ』 / The Tokyo Metropolitan Museum of Photography, 1990–2015. Tokyo: Tokyo Metropolitan Museum of Photography, 2016.
Tomii, Reiko. Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan. Cambridge: Massachusetts Institute of Technology Press, 2016.
Kaneko, Ryuichi, and Manfred Heiting. The Japanese Photobook 1912–1990 / 『日本の写真集1912–1990』 Göttingen, Germany: Steidl, 2017.
Charrier, Philip. “Taki Koji, Provoke, and the Structuralist Turn in Japanese Image Theory, 1967–70.” History of Photography 41, no. 1 (April 2017): 25–43.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Nobuyoshi Araki and his work. Photobooks are noted only if they include such texts.
Taki, Kooji. 『ヌード写真』 Tokyo: Iwanami Shoten, 1992.
Araki, Nobuyoshi, and Nan Goldin. Tokyo Love: Spring Fever 1994. Zurich: Scalo, 1995.
Hara Museum of Contemporary Art. 『空間・時間・記憶:Photography and Beyond in Japan』 exh. cat. Tokyo: Foundation Arc-en-Ciel, 1994.
Kravagna, Christian. “Bring On the Little Japanese Girls!” Third Text 13, no. 48 (September 1, 1999): 65–70.
Araki, Nobuyoshi. 『荒木経惟文学全集』 8 vols. Tokyo: Heibonsha, 1998–99.
Kitazawa, Hiromi. Moriyama, Shinjuku, Araki. Tokyo: Heibonsha, 2005.
Araki, Nobuyoshi. 『東京人生:Since 1962』 Tokyo: Basilico, 2006.
Vartanian, Ivan, Akihiro Hatanaka, and Yutaka Kambayashi, eds. Setting Sun: Writings by Japanese Photographers. New York: Aperture, 2006.
Mey, Kerstin. Art and Obscenity. London: I.B. Taurus, 2007.
O’Leary, Thomas Francis. “Tokyo Visions: Contemporary Japanese Photography and the Search for a Subjective Documentary.” PhD diss., University of Southern California, 2009.
Hiroko, Hiragawa. “Representation, Distribution, and Formation of Sexuality in the Photography of Araki Nobuyoshi.” Positions: East Asian Cultures Critique 18, no. 1 (Spring 2010): 231–52.
Araki, Nobuyoshi, and Daido Moriyama. 「対談×森山大道—最後の写真家、最後の擦過 (特集 荒木経惟〈遺作 空2〉—アラーキー、最後の写真家)」 Bungei 49, no. 2 (Summer 2010): 24–40.
Yi, Hyewon. “Crossing Boundaries: An Interview with Nobuyoshi Araki.” The Trans-Asia Photography Review 1, no. 2 (Spring 2011). http://hdl.handle.net/2027/spo.7977573.0001.205.
Araki, Nobuyoshi. 『写真集狂アラーキー』 / Ararchy Photobook Mania, exh. cat. Nagaizumi, Japan: Izu Photo Museum, 2012.
Fujii, Yuko. “Photography as Process: A Study of the Japanese Photography Journal ‘Provoke.’” PhD diss., City University of New York, 2012.
Yi, Hyewon. “Photographer as Participant Observer: Larry Clark, Nan Goldin, Richard Billingham, and Nobuyoshi Araki.” PhD diss., City University of New York, 2013.
Keehan, Reuben. We Can Make Another Future: Japanese Art after 1989, exh. cat. Brisbane, Australia: Queensland Art Gallery, 2014.
Longo, Alissa Sue. “Beyond Ethics: Voyeurism in Contemporary Photography.” Master’s thesis, Sotheby’s Institute of Art, New York, 2014. ProQuest (UMI 1589907).
Lucken, Michael. “Araki Nobuyoshi’s Sentimental Journey—Winter, or, Eternal Bones.” In Imitation and Creativity in Japanese Arts: From Kishida Ryusei to Miyazaki Hayao, 137–74. Translated by Franscesa Simkin. New York: Columbia University Press, 2016.
Tokyo Photographic Art Museum. 『荒木経惟 センチメンタルな旅1971–2017』 / Nobuyoshi Araki: Sentimental Journey 1971–2017, exh. cat. Tokyo: Tokyo Photographic Art Museum, 2017.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Naoya Hatakeyama and his work. Photobooks are noted only if they include such texts.
Biennale di Venezia. Fast and Slow: Masato Nakamura, Naoya Hatakeyama, Yukio Fujimoto: Giappone XLVIIII Biennale di Venezia 2001, exh. cat. Tokyo: The Japan Foundation, 2001.
Hatakeyama, Naoya. 『畠山直哉』 / Naoya Hatakeyama, exh. cat. Morioka, Japan: Iwate Museum of Art and the National Museum of Art, Osaka, 2002.
———. 『畠山直哉:Natural Stories』 / Naoya Hatakeyama: Natural Stories, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2011.
Hatakeyama, Naoya, and Akiko Otake. 「Artist Interview」 Bijutsu Techo 63, no. 961 (December 2011): 185–99.
Nakamura, Fumiko, and Seika Shiotsu, eds. 『これからの写真』 / Photography Will Be, exh. cat. Nagoya, Japan: Aichi Prefectural Museum of Art, 2014.
Tajiri, Ayumu. 「新たな社会的空間の生産へ向けて : 畠山直哉の言葉と写真」 Gensha 8 (March 2014): 317–34.
Museum of Fine Arts, Boston. 『震災以後 : 日本の写真家がとらえた3.11』 / In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Kyoto: Seigensha, 2015.
Nishimura Morse, Anne, and Anne E. Havinga. In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Boston: Museum of Fine Arts, Boston, 2015.
Hatakeyama, Naoya. 「Making Drawing with Camera Obscura (シンポジウム 写真の複数の〈原点〉 : 複写・複製・写し) 」 Cross Sections: Kyoto Kokuritsu Kindai Bijutsukan Kenkyuronshu 8 (2016): 86–91.
Hatakeyama, Naoya, and Akiko Otake. 『出来事と写真:畠山直哉×大竹昭子』 Kyoto: AKAAKA Art Publishing, 2016.
Hatakeyama, Naoya. 『まっぷたつの風景』 / Cloven Landscape. Kyoto: AKAAKA Art Publishing, 2017.
Sutcliffe, Lisa. “Natural Cycles: Naoya Hatakeyama’s Photographs of the 2011 Tohoku Tsunami.” In Before-and-After Photography: Histories and Contexts, edited by Jordan Bear and Kate Palmer Albers, 123–35. London: Bloomsbury Academic, 2017.
Kadobayashi, Takeshi. 「Reviews Ex 割り切れない風景 : 畠山直哉 写真展〈まっぷたつの風景〉」 Bijutsu Techo 69, no. 1049 (February 2017): 194–96.
Gumpert, Lynn, Joel Sternfeld, Dale Jamieson, and Chris Wiley. Landscapes after Ruskin: Redefining the Sublime, exh. cat. Reading, VT: Hall Art Foundation, 2018.
Hatakeyama, Naoya, with Yasufumi Nakamori. Naoya Hatakeyama: Excavating the Future City, exh. cat. Minneapolis: Minneapolis Institute of Art, 2018.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Eikoh Hosoe and his work. Photobooks are noted only if they include such texts.
Hosoe, Eikoh. 『薔薇刑』 / Ba•ra•kei: Ordeal by Roses: Photographs of Yukio Mishima. New York: Aperture, 1985.
Hosoe, Eikoh, and Noriyoshi Sawamoto. 『写真の見方』 Tokyo: Shinchosha, 1986.
Hosoe, Eikoh. “Eikoh Hosoe on Antonia Turok.” “Photographers on Photographers,” special issue, Aperture, no. 151 (Spring 1998): 44–53.
Naggar, Carole. “The Costume of the Soul: Eikoh Hosoe’s Photographs of Butoh Dancer Kazuo Ohno.” Aperture, no. 165 (Winter 2001): 54–64.
Tokyo Metropolitan Museum of Photography. 『写真家・細江英公の世界 : 球体写真二元論』 / A World of Eikoh Hosoe: Spherical Dualism of Photography, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2006.
Hosoe, Eikoh. Kamaitachi. New York: Aperture, 2009.
———. 『鎌鼬』 Kyoto: Seigensha, 2009.
———. 『土方巽 Dance Experience の会 : 土方巽氏におくる細江英公写真集』 2 vols. Reprint, Tokyo: Akio Nagasawa Publishing, 2012.
Hosoe, Eikoh, Lesley Martin, and Yayoi Shionoiri. 『細江英公 : 抱擁』 / Eikoh Hosoe: Curated Body 1959–1970, exh. cat. New York: Miyako Yoshinaga Gallery, 2013.
Ishimoto, Yasuhiro, Kikuji Kawada, Ihei Kimura, Takeyoshi Tanuma, Shomei Tomatsu, et al. 『日本の自画像 : 写真が描く戦後1945–1964』 Tokyo: Crevis, 2013.
Hosoe, Eikoh. 『「おとこと女」: 細江英公作品展』 exh. cat. Edited by Mari Shirayama and Yuri Sakurai. Tokyo: JCII Photo Salon, 2018.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Miyako Ishiuchi and her work. Photobooks are noted only if they include such texts.
Ishiuchi, Miyako. 『マザーズ2000–2005未来の刻印』 / Mother’s 2000–2005: Traces of the Future. Kyoto: Tankosha, 2005.
———. 『ひろしま: Strings of Time』 exh. cat. Hiroshima: Hiroshima City Museum of Contemporary Art, 2008.
Maddox, Amanda, with Ito Hiromi and Miryam Sas. Ishiuchi Miyako: Postwar Shadows, exh. cat. Los Angeles: Getty Publications, 2015.
Scandura, Jani. “The Horror of Details: Obsolescence and Annihilation in Miyako Ishiuchi’s Photography of Atomic Bomb Artifacts.” In Cultures of Obsolescence: History, Materiality, and the Digital Age, edited by Babette B. Tischleder and Sarah Wasserman, 147–71. New York: Palgrave Macmillan, 2015.
Mitsuda, Yuri. “Ishiuchi Miyako.” “The Interview Issue,” special issue, Aperture, no. 220 (Fall 2015): 122–35.
Ishiuchi, Miyako. 『フリーダ 愛と痛み』 / Frida: Love and Pain. Tokyo: Iwanami Shoten, 2016.
———. 『写真関係』 Tokyo: Chikuma Shobo, 2016.
Tsukada, Shuichi. 「原爆をめぐるアート実践と経験の可能性:石内都〈広島〉の考察」
/ “Artistic Exhibitions Recalling the Atomic Bomb Event: A Sociological Consideration of ‘ひろしま / Hiroshima’ by Miyako Ishiuchi.” Keio Gijuku Daigaku Daigakuin Shakaigaku Kenkyuka, no. 82 (2016): 45–55.
Ishiuchi, Miyako. 「インタビュー 広島を〈私物化〉する:〈ひろしま〉が語りかけてくるもの」 Gendai Shiso 44, no. 15 (August 2016): 136–42.
Kai, Yoshiaki. “Review of Beyond Hiroshima: The Return of the Repressed: Wartime Memory, Performativity and the Documentary in Contemporary Japanese Photography and Video Art, ed. Ayelet Zohar, and Ishiuchi Miyako: Postwar Shadows, by Amanda Maddox.” History of Photography 41, no. 1 (April 2017): 90–92.
Best, Makeda. “Memory and Survival in Everyday Textures—Ishiuchi Miyako’s Hiroshima.” In Reimagining Hiroshima and Nagasaki: Nuclear Humanities in the Post-Cold War, edited by N. A. J. Taylor and Robert A. Jacobs, 30–36. Abingdon, UK, and New York: Routledge, 2018.
Ishiuchi, Miyako. 『石内都 : 肌理 (きめ) と写真』 / Miyako Ishiuchi: Grain and Image, exh. cat. Yokohama, Japan: Yokohama Museum of Art, 2018.
Lederman, Russet, Olga Yatskevich, and Michael Lang, eds. How We See: Photobooks by Women. New York: 10×10 Photobooks, 2018.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Rinko Kawauchi and her work. Photobooks are noted only if they include such texts.
Kawauchi, Rinko. 『照度あめつち影を見る』 / Illuminance, Ametsuchi, Seeing Shadow, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2012.
———. 「Artist Interview」 Bijutsu Techo 64, no. 971 (August 2012): 153–67.
Kawauchi, Rinko, and Terri Weifenbach. Gift, exh. cat. Tokyo: Amana, 2014.
Nakamura, Fumiko, and Seika Shiotsu, eds. 『これからの写真』 / Photography Will Be, exh. cat. Nagoya, Japan: Aichi Prefectural Museum of Art, 2014.
Kawauchi, Rinko, Kayo Ume, and Tomoko Yoneda. 「カメラに恋して」 Bungei Shunju 92, no. 7 (June 2014): 1–13.
Lealan, Sophie. “Lived Experiences of the Everyday: Narrative Perspective and the Senses in Photobooks by Martin Parr, Rinko Kawauchi and Wolfgang Tillmans.” PhD diss., University of Oxford, 2015.
Museum of Fine Arts, Boston. 『震災以後 : 日本の写真家がとらえた3.11』 / In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Kyoto: Seigensha, 2015.
Nishimura Morse, Anne, and Anne E. Havinga. In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Boston: Museum of Fine Arts, Boston, 2015.
Martin, Lesley A. “Rinko Kawauchi.” “Tokyo,” special issue, Aperture, no. 219 (Summer 2015): 102–13.
Kawauchi, Rinko. 『川が私を受け入れてくれた』 / The River Embraced Me, exh. cat. Kumamoto, Japan: Contemporary Art Museum Kumamoto, 2016.
Fritsch, Lena. “In Conversation with Rinko Kawauchi.” In Ravens and Red Lipstick: Japanese Photography since 1945, 201–2. London: Thames and Hudson, 2018.
Kawauchi, Rinko. 『はじまりのひ:写真絵本』 Tokyo: Kyuryudo, 2018.
Lederman, Russet, Olga Yatskevich, and Michael Lang, eds. How We See: Photobooks by Women. New York: 10×10 Photobooks, 2018.
Simon, Jane. “Contemplating Life: Rinko Kawauchi’s Autobiography of Seeing.” In Photography and Ontology: Unsettling Images, edited by Donna West Brett and Natalya Lusty, 119–31. New York: Routledge, 2019.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Keizo Kitajima and his work. Photobooks are noted only if they include such texts.
Kitajima, Keizo. 「写真としての物語 (写真の神話学<特集>;写真としての〔 〕)」 Gendaishi Techo 26, no. 6 (June 1983): 117–18.
Tokyo Metropolitan Museum of Photography. 『発言する風景:クリティカル・ランドスケープ』 / Critical Landscapes, exh. cat. Tokyo: Tokyo Metropolitan Culture Foundation, 1993.
Sawaragi, Noi, Kyoji Maeda, and Keizo Kitajima. 「特別収録|シンポジウム 〈TALK 現代写 真の展望〉 現代写 真の動向2001 outer/inter」 Photographers’ Gallery Press, no. 1 (April 2002): 108–22.
Seki, Naoko, and Michiko Kasahara, eds. 『私はどこから来たのか/そしてどこへ行くのか』 / Where Do I Come From? Where Am I Going? exh. cat. Tokyo: Museum of Contemporary Art Tokyo, 2004.
Nakamura, Daigo, ed. 『Photographers’ Gallery Press 別冊 : 写真0年沖縄』 Tokyo: Photographers’ Gallery, 2007.
Kitajima, Keizo. 『北島敬三 1975–1991 : コザ/東京/ニューヨーク/東欧/ソ連』 / Kitajima Keizo 1975–1991: Koza Tokyo New York Eastern Europe U.S.S.R., exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2009.
Kitajima, Keizo, and Shino Kuraishi. The Joy of Portraits. 2 vols. Tokyo: Rat Hole Gallery, 2009.
Kuraishi, Shino, Michio Hayashi, Keizo Kitajima, and Kyoji Maeda. 「写真のシアトリカリティ—〈北島敬三 1975–1991〉展関連トーク」 / “Theatricality of Photography: Roundtable Discussion on Kitajima Keizo 1975–1991.” Photographers’ Gallery Press, no. 9 (May 2010): 70–82.
Kitajima, Keizo. 『戻る沖縄』 / Modoru Okinawa. London: Gomma Books, 2015.
Museum of Fine Arts, Boston. 『震災以後 : 日本の写真家がとらえた3.11』 / In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Kyoto: Seigensha, 2015.
Nishimura Morse, Anne, and Anne E. Havinga. In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Boston: Museum of Fine Arts, Boston, 2015.
Moriyama, Daido, Eikoh Hosoe, and Keizo Kitajima.『ヤング・ポートフォリオ=Young Portfolios』/ Photographs by the Next Generation: Young Portfolio Acquisitions 2015, exh. cat. Kiyosato, Japan: Kiyosato Museum of Photographic Arts, 2016.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Daido Moriyama and his work. Photobooks are noted only if they include such texts.
Moriyama, Daido. 『森山大道: 全作品集』 / Daido Moriyama: The Complete Works. 4 vols. Tokyo: Taka Ishii Gallery, 2003–4.
Kitazawa, Hiromi. Moriyama, Shinjuku, Araki. Tokyo: Heibonsha, 2005.
Moriyama, Daido, and Nobuyoshi Araki. 「対談×森山大道—最後の写真家、最後の擦過 (特集 荒木経惟〈遺作 空2〉—アラーキー、最後の写真家)」 Bungei 49, no. 2 (Summer 2010): 24–40.
Charrier, Philip. “The Making of a Hunter: Moriyama Daido 1966–1972.” History of Photography 34, no. 3 (July 2010): 268–90.
Matsuura, Aoi. 「森山大道〈写真よさようなら〉における表象批判について : 暗室作業を手がかりに」 / “Moriyama Daido’s Critique of Re-presentation in ‘Farewell Photography’: A Focus on His Operations in the Darkroom.” Bigaku Geijutsugaku 27 (2011): 37–54.
Masafumi, Fukagawa. “Is the World Beautiful? Moriyama Daido’s Provocation of the History of Photography.” Translated by Lena Fritsch. Art in Translation 4, no. 4 (January 1, 2012): 459–73. https://doi.org/10.2752/175613112X13445019280853.
Neubert, Dieter, ed. On Daido: An Homage by Photographers and Writers. Kassel, Germany: FBF-Books, 2015.
Kaneko, Ryuichi. 「ブック・ストリート 表現 森山大道と日本写真の位置」 Shuppan Nyusu, no. 2406 (March 2016): 20.
Otake, Akiko. 「森山大道×池袋 : 闇市を幻視させる街」 Tokyojin 31, no. 4 (March 2016): 98–103.
Forbes, Duncan. “Daido Moriyama.” In Another Kind of Life: Photography on the Margins, exh. cat., edited by Alona Pardo, 48–49. London: Barbican Art Gallery, 2018.
Taki, Koji, Yutaka Takanashi, Takuma Nakahira, Takahiko Okada, Daido Moriyama, et al. 『プロヴォーク : 思想のための挑発的資料』 / Provoke: Provocative Materials for Thought. Reprint, Tokyo: Nitesha, 2018.
Moriyama, Daido, and Takeshi Nakamoto. Daido Moriyama: How I Take Photographs. London: Laurence King Publishing, 2019.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Takuma Nakahira and his work. Photobooks are noted only if they include such texts.
Yasumi, Akihito. “Journey to the Limits of Photography: The Heyday of Provoke 1964–1973.” In The Japanese Box: Facsimile Reprint of Six Rare Photographic Publications of the Provoke Era, edited by Christoph Schifferli, 9–22. Paris: Edition 7L/Steidl, 2001.
Nakahira, Takuma. 『中平卓馬:原点復帰―横浜』 / Nakahira Takuma: Degree Zero—Yokohama, exh. cat. Tokyo: Osiris, 2003.
Kuraishi, Shino. 「未知の規定—1970年代初頭における中平卓馬のテクストへの覚」 Bijutsu Techo 55, no. 833 (April 2003): 87–90.
Nakahira, Takuma. Fire at the Limits of My Perpetual Gazing . . . Collected Critical Essays: 1965–1977 / 『見続ける涯に火が…:批評集成 1965–1977』 Tokyo: Osiris, 2007.
Yamada, Tsumoru. 「風景/写真と<視>の制度—中平卓馬と森山大道をめぐって」 / “Landscape/Photography and ‘Scopic Regimes’: On Takuma Nakahira and Daido Moriyama.” Kumamoto Daigaku Bungakubu Ronso 92 (March 5, 2007): 17–38.
Kuraishi, Shino, and Akihito Yasumi. 「中平卓馬、その軌跡と問い」 In 『中平卓馬:来たるべき写真家』. Tokyo: Kawade Shobo Shinsha, 2009.
Nakahira, Takuma. For a Language to Come. Rev. ed. Tokyo: Osiris, 2010.
———. Circulation: Date, Place, Events. Tokyo: Osiris, 2012.
Kuraishi, Shino. 「国境 : 中平卓馬の奄美、吐噶喇(とから)の写真」 / “On the Border: Takuma Nakahira’s Photographs of the Amami and Tokara Islands.” Literature and Environment: The Journal of the Association for the Study of Literature and Environment in Japan 18 (October 2015): 5–15.
Nakahira, Takuma. “Shashin wa kotoba o sosei shiuruka (Can Photography Revive Language?)” (1968). Reprinted in Provoke: Between Protest and Performance—Photography in Japan 1960/1975, exh. cat., edited by Diane Dufour and Matthew S. Witkovsky with Duncan Forbes and Walter Moser, 386–87. Göttingen, Germany: Steidl/LE BAL/Albertina/Fotomuseum Winterthur, 2016.
Charrier, Philip. “Nakahira Takuma’s ‘Why an Illustrated Botanical Dictionary?’ (1973) and the Quest for ‘True’ Photographic Realism in Post-War Japan.” Japan Forum (September 14, 2017). https://doi.org/10.1080/09555803.2017.1368689.
Nakahira, Takuma. 『氾濫』 / Overflow. Tokyo: Case Publishing, 2018.
Taki, Koji, Yutaka Takanashi, Takuma Nakahira, Takahiko Okada, Daido Moriyama, et al. 『プロヴォーク:思想のための挑発的資料』 / Provoke: Provocative Materials for Thought. Reprint, Tokyo: Nitesha, 2018.
Marukawa, Tetsushi. 「特定課題講座 倉石信乃講演〈中平卓馬と沖縄:一九七三~七四年を中心に〉」 Isumia: Meiji Daigaku Daigakuin Kyoyo Dezain Kenkyuka Kiyo 10 (March 2018): 110–12.
Prichard, Franz. Residual Futures: The Urban Ecologies of Literary and Visual Media of 1960s and 1970s Japan. New York: Columbia University Press, 2019.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Lieko Shiga and her work. Photobooks are noted only if they include such texts.
Takeuchi, Mariko. 「アーティストという生き方 志賀理江子—写真という生に向かって (日本のアーティスト・序論) 」 Bijutsu Techo 60, no. 909 (July 2008): 66–73.
———. “Lieko Shiga: Out of a Crevasse, the Days after the Tsunami.” Aperture, no. 206 (Spring 2012): 22–29.
The National Art Center, Tokyo. 『アーティスト · ファイル 2013—現代の作家たち』 / Artist File 2013: The NACT Annual Show of Contemporary Art, exh. cat. Tokyo: National Art Center, Tokyo, 2013.
Shiga, Lieko. 『螺旋海岸:Album』 / Rasen kaigan: Album. Tokyo: AKAAKA Art Publishing, 2013.
Museum of Fine Arts, Boston. 『震災以後 : 日本の写真家がとらえた3.11』 / In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Kyoto: Seigensha, 2015.
Nishimura Morse, Anne, and Anne E. Havinga. In the Wake: Japanese Photographers Respond to 3/11, exh. cat. Boston: Museum of Fine Arts, Boston, 2015.
Tohoku University of Art and Design Tohoku Cultural Research Center. 「ホンのひとこと 地霊の歌を聴く : 地に深く突き刺さる写真と言葉の記録 【今回取り上げる本】志賀理江子〈螺旋海岸(らせんかいがん) notebook〉」 Tohokugaku 3, no. 5 (2015): 172–75.
Maggia, Filippo, ed. New Trends in Japanese Photography. Milan: Skira, 2016.
Shiga, Lieko. 「Artist Interview」 Bijutsu Techo 69, no. 1059 (September 2017): 133–47.
———. 『ブラインドデート : 展覧会』 / Blind Date: Exhibition. Tokyo: T&M Projects, 2018.
———. 『ヒューマン・スプリング』 / Human Spring, exh. cat. Tokyo: Tokyo Photographic Art Museum, 2019.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Shomei Tomatsu and his work. Photobooks are noted only if they include such texts.
Sano, Bunichiro, et al., eds. Hiroshima-Nagasaki Document 1961. Tokyo: Japan Council against Atomic and Hydrogen Bombs, 1961.
Holborn, Mark. Black Sun: The Eyes of Four, Roots and Innovation in Japanese Photography, exh. cat. New York: Aperture in association with the Arts Council of Great Britain, the Philadelphia Museum of Art, and the Museum of Modern Art, Oxford, 1986.
Tomatsu, Shomei. 『長崎〈11:02〉1945年8月9日』 Tokyo: Shinchosha and Photo Musée, 1995.
Ichikawa, Masanori, Rei Masuda, and Tohru Matsumoto, eds. Shomei Tomatsu: Interface / 『東松照明写真展 : インターフェイス』, exh. cat. Tokyo: The National Museum of Modern Art, Tokyo, 1996.
Hoaglund, Linda. “Interview with Tomatsu Shomei.” Positions: East Asia Cultures Critique 5, no. 3 (Winter 1997): 834–62.
Atsuyuki, Nakahara, and Sumiyo Mitsuhashi, eds. 『日本列島クロニクル—東松照明の50年』 / Traces—50 Years of Tomatsu’s Works, exh. cat. Toyohashi, Japan: Toyohashi City Art Museum, 2000.
Nagasaki Prefectural Art Museum. Tomatsu Shomei “Nagasaki Mandala,” exh. cat. Nagasaki: Nagasaki Prefectural Art Museum, 2000.
Maejima Art Center. 『東松照明展:沖縄マンダラ』 / Okinawan Mandala: Tomatsu Shomei Exhibition, exh. cat. Naha-shi, Japan: Maejima Art Center, 2002.
Rubinfein, Leo, Sandra S. Phillips, John W. Dower, and Daido Moriyama. Shomei Tomatsu: Skin of the Nation, exh. cat. San Francisco: San Francisco Museum of Modern Art, 2004.
Ken ’ichiro, Makino, Furuta Hirotoshi, and Kujirai Hidenobu, eds. Aichi Mandala: The Early Works of Shomei Tomatsu / 『愛知曼陀羅:東松照明の原風景』 exh. cat. Nagoya, Japan: Aichi Prefectural Art Museum, 2006.
Vartanian, Ivan, Akihiro Hatanaka, and Yutaka Kambayashi, eds. Setting Sun: Writings by Japanese Photographers. New York: Aperture, 2006.
Tokyo Metropolitan Museum of Photography. 『東松照明 「Tokyo曼陀羅」』 / Tokyo Mandala: The World of Shomei Tomatsu, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2007.
Angst, Roland. 『東松照明』 / Shomei Tomatsu: Photographs 1951–2000. Berlin: Only Photography, 2012.
Compiled by Kelly Midori McCormick
Many of the photographers highlighted in Focus on Japanese Photography published photobooks featuring their artwork and writing. The following bibliography lists key texts by others about Hiromi Tsuchida and his work. Photobooks are noted only if they include such texts.
Tokyo Metropolitan Museum of Photography. 『日本の写真、1970年代:凍結された「時」の記憶』 / Japanese Photography in the 1970s: Memories Frozen in Time, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 1991.
Tsuchida, Hiromi. 『俗神:土田ヒロミ』 / Zokushin: Hiromi Tsuchida, exh. cat. Paris: Bibliothèque nationale, 1991.
Echigoya, Fumihiro, Hiromi Tsuchida, and Tetsuro Hatano. 「座談会 いま映画雑誌はどうあればいいのだろう」 Cinema 101 (December 1995): 80–85.
Taro Okamoto Museum of Art. 『日本発見—岡本太郎と戦後写真』 / Discover Japan: Taro Okamoto and Postwar Photography, exh. cat. Kawasaki, Japan: Taro Okamoto Museum of Art, 2001.
Tsuchida, Hiromi. 『新・「砂を數える」』 / New Counting Grains of Sand. Tokyo: Tosei-sha, 2005.
「Art News 土田ヒロミをさがせ!」 Geijutsu Shincho 56, no. 10 (October 2005): 128–33.
Maruo, Ito. 「写真家と’負の昭和’ : 土門拳・山端庸介・東松照明・江成常夫・土田ヒロミの仕事」 / “Five Photographers and the Negative Aspect of the Showa Period: Ken Domon, Yosuke Yamahata, Shomei Tomatsu, Tsuneo Enari, and Hiromi Tsuchida.” Kyushu Sangyo Daigaku Geijutsugakkai Kenkyu Hokoku 38 (2007): 307–23.
Ryudai, Takano, and Yoshiko Suzuki. Snapshots Cast Their Spell: Radiant Moments, exh. cat. Tokyo: Tokyo Metropolitan Museum of Photography, 2010.
Tsuchida, Hiromi. 『土田ヒロミ作品展「俗神」』 exh. cat. Tokyo: JCII Photo Salon, 2010.
———. 『土田ヒロミ展 : 写真芸術の可能性 : 作品カタログ/ 現代美術のつどい実行委員会編集』 exh. cat. Wakasa, Japan: Modern Art Gathering Executive Committee, 2016.
———. 『フクシマ』 / Fukushima 2011–2017. Tokyo: Misuzu Shobo, 2018.
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Sandra S. Phillips is curator emerita of photography at SFMOMA.
Daniel Abbe is a PhD candidate in the department of art history at the University of California, Los Angeles.
Matthew Kluk is a PhD student in the history of art and architecture department at Brown University, Providence, Rhode Island.
Masashi Kohara is an independent curator and filmmaker.
Amanda Maddox is associate curator in the department of photographs at the J. Paul Getty Museum, Los Angeles.
Rei Masuda is curator of photography at the National Museum of Modern Art, Tokyo.
Kelly Midori McCormick is assistant professor of Japanese history at the University of British Columbia, Vancouver.
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