Akiko Takizawa : Photography

::

::
“Father, Field #2”
‘Where We Belong’ Series
Gelatin silver print
2004-2006
::

::
“Headland #1”
Gelatin silver print
‘Headland’ Series
2007
::

::
“Shrine Window #1”
‘Goshogawara’ Series
Gelatin silver print
2011
::

::
“Shrine Window #2”
‘Goshogawara’ Series
Gelatin silver print
2011
::

::
“Wedding up in Heaven #4”
‘Wedding up in Heaven’ Series
Gelatin silver print
2011
::

::
“Wedding up in Heaven #2”
‘Wedding up in Heaven’ Series
Gelatin silver print
2011
::

::
“Headland #5”
Gelatin silver print
‘Headland’ Series
2007
::

::
“Two Heads, Stones on the Hill #1
Gelatin silver print
‘Osorezan’ Series
2011
::

“Knowing that she was about to die, my aunt said that she would have less regret about leaving this world if she knew that she would still be able to send letters. I feel that my camera acts as an antenna – to receive signals carrying urgent messages from the lost lives and objects that fill the air all around us. I also believe that it is this frantic whispering of death that pushes me to take these photographs, and enables me to continue living…”  – Akiko Takizawa : Artist Statement

::

Akiko Takizawa : Website

::

Hiroyasu Matsui : “Cubes” Series (Photo Constructions)

::

What exactly is a photograph?  

… In choosing film as my medium for artistic expression I thought I must first understand and assess its essence and characteristics. At the same time I wanted to avoid perceiving my subjects through conventional values and interpretations, which is why I needed to create a suprematistic image. [ AS ]

::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

::
‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
::

I try to express contradicting elements such as photo and graphic; planar and three-dimensional; static and dynamic. Instead of expressing an image by photographing a particular subject, I perceived it as a two-dimensional art form consisting of light, thereby creating an image using the light from the lightbox.

Execution

Photographed cardboard cubes.
Uploaded to computer and fixed the density.
Printed outline on black paper and created masks.
Exposed while peeling off the masks on the light box in sequence.

::

Hiroyasu Matsui : Website

::

yamasaki ko-ji : photography

::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

::
“untitled”
yamasaki ko-ji
photograph
::

yamasaki ko-ji : flickr

yamasaki ko-ji : website

::

Daido Moriyama : Photography Series

::

“For me, photography is not a means by which to create beautiful art,
but a unique way of encountering genuine reality” ~ Daido Moriyama

::

::

::
“Record No.15”
Daido Moriyama
Photograph
::

::
“Northern 3”
Daido Moriyama
Photograph
::

::
“Northern 3”
Daido Moriyama
Photograph
::

::
“Northern”
Daido Moriyama
Photograph
::

::
“Record No.15”
Daido Moriyama
Photograph
::

::
“Northern 3”
Daido Moriyama
Photograph
::

::
“Northern 3”
Daido Moriyama
Photograph
::

::
“Record No.18”
Daido Moriyama
Photograph
::

Daido Moriyama (b.1938, Osaka) is one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed post WWII Japan, his black and white photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies a unique space between the objective and the subjective, the illusory and the real. Moriyama’s use of a small hand held automatic camera gives his images a loose and casual aesthetic, undermined by a forceful and decisive point of view. – Extract : Luhring Augustine

::

Daido Moriyama : Website

Daido Moriyama : Luhring Augustine

::

Yasuhiro Ogawa : Photography Series

::

“Tokyo is noisy, chaotic, but full of a strange silence” – Yasuhiro Ogawa

::

::
“Train for Heihe, China”
Yasuhiro Ogawa
Photograph
2011
::

::
“On a Commuter Train”
Yasuhiro Ogawa
Photograph
2011
::

::
“Train for Qiqihar”
Yasuhiro Ogawa
Photograph
2011
::

::
“Ferryboat Window, Hokkaido”
Yasuhiro Ogawa
Photograph
2009
::

::
“Ferryboat Terminal”
Yasuhiro Ogawa
Photograph
2008
::

::
“Hotel Window, Hokkaido”
Yasuhiro Ogawa
Photograph
2009
::

::
“TV Monitor in a Park”
Yasuhiro Ogawa
Photograph
2010
::

::
“On the Ferryboat”
Yasuhiro Ogawa
Photograph
2010
::

::
“Under the Railway Bridge”
Yasuhiro Ogawa
Photograph
2010
::

::
“Funeral, Aoyama”
Yasuhiro Ogawa
Photograph
2010
::

Born in 1968, Kanagawa, Japan. Started to take pictures at the age of 24, influenced by the work of Sebastiao Salgado. The first exhibition titled “Futashika-na-Chizu” was held at Ginza Kodak Photo-salon, Tokyo, in 1999. Since then, his work has appeared in many publications in Japan. This year Ogawa won the prestigious Newcomer’s Award from the Photographic Society of Japan for his Slowly Down the River work, from which a couple of these come. The work centers around the construction of the Three Gorges Dam in China, and the profound changes wrought by this massive development. Book

::

Yasuhiro Ogawa : Website

::

Eikoh Hosoe : Photography Series

::

“To me photography can be simultaneously a record and a ‘mirror’ or ‘window’ of self-expression. The camera is generally assumed to be unable to depict that which is not visible to the eye. And yet the photographer who wields it well can depict what lies unseen in his memory…” ~ Eikoh Hosoe

::

::
“Man and Woman #31”
gelatin silver print
32.4 x 45.1 cm
1960
::

::
“Kamaitachi #11”
gelatin silver print
32.4 x 45.1 cm
1965
::

::
“Ordeal By Roses #16”
gelatin silver print
30.5 x 45.1 cm
1961
::

::
“Kamaitachi #19”
gelatin silver print
32.4 x 45.1 cm
1965
::

::
“Kamaitachi #17”
gelatin silver print
29.9 x 45.4 cm
1965
::

::
“Kamaitachi #23”
gelatin silver print
30.4 x 45.3 cm
1965
::

::
“Ordeal By Roses #6”
gelatin silver print
30.0 x 45.1 cm
1961
::

Eikoh Hosoe is one of Japan’s most notable post-war photographers and film-makers. Hosoe was born in 1933 in Yamagata prefecture, as Toshihio Hosoe. He changed his name to Eikoh after the Second World War, to symbolize the new Japan he was photographing. Hosoe’s photography is often collaborative or linked to one of his artist acquaintances. The series ‘Bara-kei’ (Ordeal by Roses) was created in 1962 with the famous writer Yukio Mishima as a model, and the 1969 series ‘Kamaitachi’ was created with dancer Tatsumi Hijikata as the model. Hosoe has also been a part of many artist groups and co-operations like Demokrato, VIVO, and Jazz Film Laboratory, which he founded. [Extract : M.H.G.]

::

Article : Utata

Eikoh Hosoe : Clair Gallery

Eikoh Hosoe : Toki-No-Wasuremono

::