dinsdag 17 oktober 2017

Foto/Industria third edition Bologna 2017 Friedlander Koudelka and Rodchenko Company Photography

Boston, 1986 © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco

Francois Hébel’s Foto/Industria opens tomorrow
written by Diane Smyth

See also
Industrial Worlds David Goldblatt Henri Cartier-Bresson Robert Doisneau Elliott Erwitt Industria Bologna 2013 Company Photography

Bologna : Foto/Industria 2015 From Albums to (Company) Photobooks Photography

Best-known for making Arles the most important photography festival in the world, Francois Hébel is bringing stars such as Friedlander, Koudelka and Rodchenko to the Foto/Industria in Bologna

Foto/Industria Biennial returns to Bologna, with 14 exhibitions centring around identity and illusion in photographs of work by image-makers such as Thomas Ruff, Josef Koudelka, Lee Friedlander, Joan Fontcuberta, Alexander Rodchenko, Mitch Epstein, Yukichi Watabe, John Myers and Michele Borzoni. The Biennial, which is back for its third edition, is produced by the MAST Foundation, a cultural centre established in 2013, and the festival is curated by Francois Hébel – the man best known for resurrecting Les Rencontres d’Arles, which he directed from 1986-87, and from 2002-14. First time around at Arles, Hébel showed photographers such as Nan Goldin and Martin Parr and was greeted with outrage; second time, he took an event on the verge of bankruptcy, €450,000 in debt and attracting just 9000 visitors per season, and transformed it the world’s most important photography festival. BJP caught up with Hébel to ask about the third edition of Foto/Industria; read our 2015 interview with him here.

BJP: The festival is now in its third edition – what’s different, and what’s the same this year?

Francois Hébel: Foto/Industria improved its audience a lot with the second edition, and hopefully will confirm with the third. [Last time] the big surprise was to see people travelling from other Italian cities and abroad for the weekend, taking advantage of the numerous connections to this university and industrial city. We also got to know the magnificent venues of this Renaissance city better.

1030, 2003 © Thomas Ruff, by SIAE 2017

BJP: The Thomas Ruff show is about machines, rather than about industry per se. Similarly, the Yukichi Watabe series Stakeout Diary is tangentially related to industry. How free do you feel to interpret the ‘industrial’ theme?

FH: Absolutely free as long as it relates to work or production. This is a very broad approach, and in previous years the festival has gone from mining to office work, from corporate assignments to fictional projects and independent, critical ones. This is a great freedom agreed with Isabella Seràgnoli, who is the founder of MAST and who asked me to create this extension to her foundation – Foto/Industria.

One of the consequences is that the festival also extends to all genres of photography, all styles and periods. The relationship with work and production is an incredibly rich one, which is why from a one-off event for the opening of MAST in 2011, Isabella Seràgnoli asked me to turn Foto/Industria into a Biennial.

France, 1987 © Josef Koudelka / Magnum Photos

BJP: Some of the artists you feature are very well known, others are emerging or all but forgotten. How do you choose the projects you want to show?

FH: You name it [I do it]. A festival is a global experience, if you show famous artists you have to revisit their work. This is the case here with Koudelka, as his industrial work was never exhibited [the show is titled 30 Years of Industrial Landscapes and will include 40 images shot on commission for organisations such as the Lhoist mining group]. Similarly, Friedlander isn’t that famous for his corporate assignments [his show, At Work, gathers images made over 16 years in the US in spaces such as factories, offices and telemarketing centres].

These important characters and the festival form encourage people to dedicate more time than they would to just seeing a show – instead of spending a couple of hours at a galley then spend a whole day or a weekend, and let themselves be surprised by work they didn’t expect.

I balance the program in total freedom, taking advantage of 36 years of working with photographers [who are as well-established as Hebel]. But I am also very attentive to emerging styles and artists, and there is a “hot” dimension to a festival that is different to an institution, which may work for three years on a show.

BJP: Some of the work is archival, other images are very contemporary. What does this mix help to do?

FH: It helps the audience enjoy photography, and to show how it sometimes evolves on similar themes.

New Industrial Estate, Lye, 1981 © John Myers

BJP: It’s great to see John Myers’ work included in the festival – how did you come across it? [Myers is a little-known British photographer currently undergoing a critical reassessment, and is showing an exhibition titled The End of Manufacturing, featuring images shot between 1981 and 1988 in the Black Country]

FH: I do my job in order to learn everyday, and often do so thanks to friends. In John’s case, Brian Griffin mentioned that I should look at these pictures for Foto/Industria. To be honest, John had sent me a catalogue with this series a long time ago, but at the time it didn’t fit in the programmes I was preparing and I forgot them. Good work always come out.

BJP: I notice there are no female photographers in the festival this year. Why do you think that is?

FH: Because I do not try to put this as a criteria, but if you look back to the probably more than 1000 shows I have produced in my career, especially in 15 editions of Arles, Beijing Photo Spring, or the recent month of photography of the Grand Paris, there are always many female photographers – especially in recent photography, there were not as many before.

Chinese textile workshop seized from Prato Municipal Police © Michele Borzoni/TerraProject

BJP: Some of the series on show this year were made on commission from the companies they depict; others are taken from ‘outside’ the companies, independently. What are the pros and cons of each approach?

FH: Access and freedom are obviously the key issues. But in the selection we made this year, you will see that it didn’t make much of a difference.

BJP: The MAST Foundation is run by the Coesia Group [a group of companies that makes industrial and packaging solutions]. Are there limits to how much Foto/Industria can critique big business when it’s underpinned by a company?

FH: I never face such a situation. Before taking over the company from her parents, Isabella Seràgnoli was more into social science, and she has always been a social philanthropist. This is probably why she wouldn’t see any reason to force the program into political correctness – nor would I accept it.

BJP: What are your future plans for the festival? Is there a limit to how long a festival of industrial photography can run?

FH: I am sure this broad approach can run and run, as the photographic approach is as important as the theme; we also have an extensive public programme. Growing in size is not a necessity, we just want to keep on producing original and quality shows, in amazingly beautiful venues. Increasing the visitors is our first goal for this young festival.

Foto/Industria is open from 12 October  19 November in venues throughout Bologna city centre; Thomas Ruff’s solo show at MAST is open until 07 January 2018. www.fotoindustria.it/en/

1183, 2004 © Thomas Ruff, by SIAE 2017

The Lingotto rooftop test track (Fiat). Italy, 2004 © Josef Koudelka / Magnum Photos

AMO Factory. Moscow, 1929 by Alexander Rodchenko. AMO Factory. Moscow, 1929
Collection of Multimedia Art Museum, Moscow / Moscow House of Photography Museum

Wood factory “Vakhtan.” Nijny Novgorod region, 1930 by Alexander Rodchenko. Collection of Multimedia Art Museum, Moscow / Moscow House of Photography Museum

Portrait of colonel Ivan Istochnikov © Joan Fontcuberta

Ivan and Kloka in his historical EVA (extra-vehicular activity) © Joan Fontcuberta

Cray, 1986 © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco

Festival dell’Unità, Napoli, 1976
Unity Festival, Naples, 1976 © Mimmo Jodice Archivio

Open competitive exhamination for recruitment of 40 historians at the Ministry of Heritage and Cultural activities. 1550 people applied for the exam which took place in the new Fiera di Roma © Michele Borzoni/TerraProject

Ergol #12, S1B clean room, Arianespace, Guiana Space Center [CGS], Kourou, French Guiana, 2011 © Vincent Fournier

Amos Coal Power Plant, Raymond, West Virginia, from “American Power,” 2004 © Mitch Epstein, courtesy the artist and The Walther Collection

BP Carson Refinery, California, from “American Power,” 2007 © Mitch Epstein, courtesy the artist and The Walther Collection

Yukichi Watabe © Yukichi Watabe
in)(between gallery Paris & roshin books Tokyo

# 01000 Crespellano, Bologna, IT, 2016 © Carlo Valsecchi

07-8-18-3, from the series “Machina”, 2007 © Mårten Lange

Circle of men, from the series “The Mechanism”, 2017 © Mårten Lange

Seuil (Kembs), from the Transform: Power series, 2015 © Mathieu Bernard-Reymond

Transformation (Turbine 144, Marckolsheim), from the Transform: Power series, 2015 © Mathieu Bernard-

maandag 16 oktober 2017

NEDERLANDSE POSTZEGELS 1987/88: 2 Volume Set Dutch PTT Books designed by Irma Boom


Dutch PTT Books designed by Irma Boom

A Highlight of Modern Dutch Graphic and Book Design

Irma Boom [Design], Paul Hefting [introduction/compilition]: NEDERLANDSE POSTZEGELS 1987/88 [POSTSTEMPELS, ACHTERGRONDEN, EMISSIEGEGEVENS EN VORMGEVING]. The Hague: Staatsbedrijf der PTT, 1988. First editions in 2 volumes. Text in Dutch. Quartos. Blue and chipboard printed thick wrappers with foil stamping. 116 + 112 pp. Translucent vellum signatures  printed in 4-color recto and black versos, and perfect-bound in the Japanese-style. Multiple paper stocks. Elaborated design and typography throughout by Irma Boom. Former owner inkstamp and small glue stain to front endpapers of each volume. Wrappers lightly worn with trivial wear to edges, but a very good or better set.

This 2 volume set represents Irma Boom’s first published book designs, her first award-winnng book design and an enticing glimpse of her future career as “Queen of Books.” A copy of this set is in the collection of the Museum of Modern Art [item 892.2007.1-2].

  [2] 9.75 x 7.33 softcover books with 228 total pages elaborately designed and printed in the Netherlands.  The two-volume celebrates the special edition stamp designs commissioned by the Dutch PTT during 1987 and 1988, and also features an index of the different postal cancellations used during those years. Each designer and their commission is given a thoughtful and almost dreamlike presentation via Irma Boom’s mind-blowing mise-en-page.

  “I compare my work to architecture. I don’t build villas, I build social housing. The books are industrially made and they need to be made very well. I am all for industrial production. I hate one-offs. On one book you can do anything, but if you do a print run, that is a challenge. It’s never art. Never, never, never.”

Irma Boom designed the interior pages using  4-color offset lithography for the front pages and black for the versos, then binding them japanese-style for a ghostly effect with the images of the past represented by faint blacks glowing through the color pages. An amazing, early example of Boom's groundbreaking book design, and another classic example of the forward thinking standards set by the Netherlands Post, Telegram and Telephone Services [PTT].

“Since 1920, the PTT Art & Design Department had commissioned artists, architects and designers to design its services and products. To me, the whole idea of Dutch design comes from the design policy of PTT, especially in the 1970s and 80s when Ootje Oxenaar was head of the department. “

“Working at the Staatsdrukkerij meant enormous creative freedom. Those were the heydays of art-book publishing. If you made a book cover, they would encourage you to use foil or special printing techniques. The department was a springboard for young designers who would work there for one or two years and go on to something more exciting. After my internship, I went to Dumbar and the Dutch television (NOS) design department. After I graduated I went back to the Staatsdrukkerij, and ended up staying for five-and-a-half years. I learned a lot. In retrospect, it was a very productive and super-creative time.”

“I did jobs nobody else wanted, like the advertisements for the publishing department, which was – thinking of it now – a smart thing to do because I could experiment. Those assignments were completely under the radar but they were seen by Oxenaar. He invited the designer of the ‘crazy ads’ to do one of the most prestigious book jobs: the annual Dutch postage-stamp books.”

  “Places like the Staatsdrukkerij don’t exist any more. When I started working there after graduation, I was immediately a designer (not a junior), and I quickly became a team leader. At that time I was very naive and fearless. I was not aware of an audience, and certainly not a critical audience! This vacuum is no longer possible for designers starting out today. I only became aware of the outside world after the prestigious postage-stamp yearbooks were published: hate mail from stamp collectors and design colleagues started to come in. But there was also fan mail.

“The books polarised the design community. They won all the awards and a Best Book Award, my first one. In the jury report they mentioned ‘a brilliant failure’. Suddenly people knew who I was. I realised negative publicity has an enormous impact, more than positive publicity.” — Irma Boom, 2014 [Eye no. 88 vol. 22]

Jean van Royen’s early adherence to typographic and design excellence set a standard for the PTT for years to come. In the early 1930s, he commissioned Piet Zwart to transform PTT’s in-house design style. This beautiful chapter in the history of graphic design came to "a brutal conclusion" when van Royen died in 1941 because of his opposition to fascism. Fortunately, van Royen’s design legacy was revived after the war and continues to this day.

Includes work by Piet Zwart, Karl Martens, Studio Dunbar, Tom van den Haspel, Walter Nikkels, Gerrit Noordzij, Anton Beeke, Win Crouwel, Jan van Toorn, Hans Kruit, Willem Sandberg, Cees de Jong, Helen Howard, Victor Levie, Matt van Santvoord, Max Kisman, Reynoud Homan, Rudo Hartman, Rik Comello, Pieter Brattinga, Kees Nieuwenhuijzen, Vincent Mentzel, Charlotte Mutsaers, Henk Cornelissen, Rick Vermeulen, Tessa van der Waals, Kees Ruyter, Arthur Meyer, Frans van Mourik, Jan Bons, Dick Elffers, Johan Lots, Dennis Jaket, Frans van Lieshout, and others whom I’m sure were overlooked.

Irma Boom [b. 1960] is an Amsterdam-based graphic designer specializing in book design. Her use of unfamiliar formats, materials, colors, structures, and typography make her books into visual and tactile experiences.

Boom studied graphic design at the AKI Art Academy in Enschede. After graduating she worked for five years at the Dutch Government Publishing and Printing Office in The Hague. In 1991 she founded Irma Boom Office, which works nationally and internationally in both the cultural and commercial sectors. Clients include the Rijksmuseum Amsterdam, Paul Fentener van Vlissingen (1941-2006), Inside Outside, Museum, Boijmans Van Beuningen, Zumtobel, Ferrari, Vitra International, NAi Publishers, United Nations and OMA/Rem Koolhaas, Koninklijke Tichelaar, and Camper.

Since 1992 Boom has been a critic at Yale University in the US and gives lectures and workshops worldwide. She has been the recipient of many awards for her book designs and was the youngest-ever laureate to receive the prestigious Gutenberg prize for her complete oeuvre. Her design for ‘Weaving as Metaphor’ by American artist Sheila Hicks was awarded 'The Most Beautiful Book in the World’ at the Leipzig Book Fair. Her books have been shown at numerous international exhibitions and are also represented in the collections of the Museum of Modern Art in New York.

donderdag 12 oktober 2017

Views & Reviews Polaroids – and why Photography is now over Wim Wenders

Wim Wenders on his Polaroids – and why photography is now over
Vigils for John Lennon, road trips with Annie Liebovitz, portraits of Dennis Hopper … Wim Wenders took thousands of Polaroids while making his classic films. He shares the stories behind them

Valley of the Gods, Utah, 1977, by Wim Wenders.
'They were made from the gut’ … Valley of the Gods, Utah, 1977, by Wim Wenders. Photograph: © Wim Wenders/Courtesy Deutsches Filminstitut Frankfurt

Sean O'Hagan
Thursday 12 October 2017 06.00 BST
Wim Wenders reckons he took more than 12,000 Polaroids between 1973 and 1983, when his career as a film-maker really took off, but only 3,500 remain. “The thing is,” he says, “you gave them away. You had the person in front of you, whose picture you had just taken, and it was like they had more right to it. The Polaroids helped with making the movies, but they were not an aim in themselves. They were disposable.”

Four decades on, the Photographers’ Gallery in London is about to host an extensive exhibition of Wenders’s early Polaroids called Instant Stories. They date from that prolific period in the 1970s that produced now classic films such as The Goalkeeper’s Fear of the Penalty, Alice in the Cities and The American Friend. Many capture moments in the making of these movies, but others are records of the places he travelled through: cities, small towns, deserts, highways and hotels. Like his films, they all possess a melancholic romanticism. “My first reaction was, ‘Wow! Where did this all come from?’ I had forgotten about so much of it. I realised I had been taking pictures like a maniac.”

Self-portrait, 1975, by Wim Wenders.
Melancholy romanticism … Self-portrait, 1975. Photograph: © Wim Wenders/Courtesy the Wim Wenders Foundation

The Polaroids have been grouped under characteristically evocative titles: Photo Booths, Jukeboxes and Typewriters; Looking for America; California Dreaming; Mean Streets. Together, they add up to an impressionistic diary of a time when “there was no sadness, no anger, there was nothing but sheer innocence, not only my own, but everyone around me. The films were made from one day to another without any great thinking process. They were made from the gut – and the Polaroids also are made from the gut.”

We are sitting in a spacious, well-ordered office in Wenders Images, a studio complex near the centre of Berlin that houses his vast, meticulously organised archive. He had turned up earlier wearing a helmet and cagoule, having travelled from his nearby home on an electric bike. With his shock of grey hair, thick round glasses and high-waisted trousers with braces, he looks like an eccentric professor.

New York Parade, 1972, by Wim Wenders.
 ‘They are a healthy memory of how things were – and what we have lost’ … New York Parade, 1972. Photograph: © Wim Wenders/Courtesy the Wim Wenders Foundation

Wenders, now 72, was given his first camera as a child in Düsseldorf by his father, a doctor. “He took pictures all his life, but never thought of himself as a photographer. He passed on his appreciation to me. I had to learn about exposure, focus, all the technical stuff. But much as I loved doing it, I also never thought of myself as a photographer. Even later with the Polaroids, that was still the case.”

Does he think that defined the images he made? “Yes. For sure. If ever I had wanted to really take a picture of something, I would not have done it with a Polaroid. I never thought of it as giving the real picture.”

When approached by the Photographers’ Gallery, he thought long and hard about exhibiting them. “I really hesitated. The only justification for putting them in a gallery is that they show what happened. They are a healthy memory of how things were and what we have lost. The realisation that we have lost something is not necessarily nostalgic. It can be tragic.”

Heinz, 1973, by Wim Wenders
Heinz, 1973, by Wim Wenders Photograph: © Wim Wenders

In the context of a gallery, the Polaroids have a complex presence. Often creased or marked, with their colours slightly faded, they evoke another time, one that already seems impossibly distant. What’s more, they lend that era an aura of mystery and romance – even when they are blurred or badly composed. That was part of the charm of the unwieldy, hard-to-focus camera. But, in an exhibition space, they are elevated from ephemera to art.

It is an uncomfortable transition, which has not gone unnoticed by Wenders. “The meaning of these Polaroids is not in the photos themselves – it is in the stories that lead to them. That’s why the exhibition is called Instant Stories – the catalogue is a storybook more than a photo book.”

The accompanying stories are certainly fascinating. In one, he recalls a chance encounter in 1973 with “a tall young woman” who takes the seat beside him at the bar in CBGB, the legendary New York nightclub. Sensing his loneliness, she gives him her name and number as she is leaving, telling him to call should he find himself alone in San Francisco.

When I got to New York, I joined the thousands of people gathering in silence for John Lennon

A week later, he does just that – and so begins a friendship with a young music photographer called Annie Leibovitz, who takes him on a road trip to Los Angeles. “I took some pictures on the road and so did Annie,” he says. The seven shots she took of him driving are in the exhibition.

In another story, he recounts hearing about John Lennon’s death while driving along a freeway in Los Angeles. “That was a very decisive moment in my life,” he says. “I pulled over and let the traffic go by and it slowly sank in and I started to cry. I sat there and wept until there were no more tears left.” On impulse, he drove to the airport and caught the red-eye to New York. “When I got there, I was part of a silent gathering of thousands of people. It was an act of common trauma. We had all lost something essential that we thought was not going to end so soon. For me, it was my childhood, my youth.”

Unlike his later photography, which is mainly landscapes and buildings, Instant Stories includes several portraits, including the great Dutch cinematographer Robby Müller, the German actor Senta Berger, and the late Dennis Hopper, who starred in The American Friend. Hopper was also an accomplished photographer. Did they compare notes? “Not really. Dennis was” – long pause – “a carefree person. By the time our paths crossed, he had left photography behind and was painting. We spoke about photography and I saw and loved his work. We even made a film in which his character talks about photography a lot. But for Dennis, photography was a thing of the past. I knew him from 1976 and I never saw him taking a picture.”

Campbell Soups, New York 1972.
Ephemera … Campbell Soups, New York, 1972. Photograph: © Wim Wenders

Wenders, too, now regards photography as a thing of the past. “It’s not just the meaning of the image that has changed – the act of looking does not have the same meaning. Now, it’s about showing, sending and maybe remembering. It is no longer essentially about the image. The image for me was always linked to the idea of uniqueness, to a frame and to composition. You produced something that was, in itself, a singular moment. As such, it had a certain sacredness. That whole notion is gone.”

Last year, as if in acknowledgment of this, he gave his Polaroid camera to his friend Patti Smith. “Hers was old and damaged and letting the light in,” he says. “I had the same camera. I was never going to use it any more.”

So Instant Stories is also an elegy for the Polaroid itself, and all it stood for. “At the time, it was part of everyday life, another thing you used for living – like food and air and the stinky cars we were driving and the cigarettes everyone was smoking. Today, making a Polaroid is just a process.”

He sighs and rubs his eyes. “The culture has changed. It has all gone. I really don’t know why we stick to the word photography any more. There should be a different term, but nobody cared about finding it.”

Instant Stories. Wim Wenders’ Polaroids is at the Photographers’ Gallery, London, 20 October to 11 February.

Beeldspraak: Was es alles gibt

zl-0607-junijuli-2015Duncan Liefferink
De werkelijkheid. Sommige kunstenaars hebben het er behoorlijk moeilijk mee. Claude Monet had meer dan twintig schilderijen nodig om het licht op de kathedraal van Rouen te vangen en was toen nog niet tevreden. David Hockney, vorig jaar in Keulen, installeerde tientallen videoschermen om de ervaring van een plek vast te leggen – of hij tevreden was weet ik niet, maar ik vraag het me af.

Wim Wenders (1945, Düsseldorf) kijkt er zorgelozer tegenaan. Met zijn foto’s wil hij gewoon, zonder omhaal, rechttoe rechtaan de werkelijkheid laten zien. “Was es alles gibt” – niet meer en niet minder. Dat is verrassend, want we hebben het over de maker van films als Paris, Texas en Der Himmel über Berlin. Ik heb ze nog eens bekeken en die films zijn allesbehalve rechttoe rechtaan. Voorafgaand aan de tentoonstelling van zijn foto’s in Museum Kunstpalast in Düsseldorf zei Wenders het zo: “In mijn films vertel ik mijn eigen verhaal, in mijn foto’s laat ik plekken zien die zelf iets te vertellen hebben”. In de catalogus koppelt hij zijn voorliefde voor de werkelijkheid aan een tirade tegen de digitale fotografie, tegen gemanipuleerde beelden en tegen de “second hand reality” van de “zogenaamde” sociale media.

Hoe doet Wenders dat, de werkelijkheid laten zien? In ieder geval ging hij er ver voor van huis. Hij reisde naar Armenië, naar Japan en naar het Wilde Westen. Hij fotografeerde prachtig  vervallen gevels in Havana, het meer van Galilea in de oranje gloed van de zonsopgang en een woestijnlandschap in Australië dat uit niets dan zand en horizon bestaat. De eerlijkheid gebiedt te zeggen dat er ook foto’s van de Potsdamer Platz in Berlijn en uit Brandenburg zijn. Die laatste lijken nogal op negentiende-eeuwse schilderijen, maar dan dik vier meter breed. En daar hebben we precies het probleem van op zijn minst een deel van deze foto’s. Ze zijn zorgzaam opgebouwd en schitterend van licht en kleur. Echt heel mooi zijn ze, maar misschien zijn ze wel een beetje al te mooi. In zijn verwondering over “wat er allemaal is” scheert Wenders rakelings langs cliché en megalomanie. Waarschijnlijk waren de twijfels van Monet en Hockney toch niet helemaal uit de lucht gegrepen.

De spannendste foto’s in Düsseldorf zijn, grappig genoeg, nu net de foto’s waarin Wenders wél een verhaal vertelt. Of preciezer: waarin hij door nadruk te leggen op een contrast of een bizar detail – een knalrood bankje, een eenzame figuur, een éénrichtingsbord – het begin van een verhaal suggereert. Je kunt dat het verhaal van de plek noemen, maar mij lijkt dat een mystificatie. Het is immers niemand anders dan de maker van de foto die ons met zachte dwang op het spoor zet.

Na afloop at ik een appeltje in het plantsoen tussen het museum en de Rijn. De bloemen bloeiden, een boot voer voorbij, de zon scheen op mijn voorhoofd, traag bewoog over de brug een tram, het geluid van het verkeer vermengde zich met het getsjilp van de mussen. Een intense vrede daalde op mij neer. “Was es alles gibt”, dacht ik.

4 Real & True 2. Wim Wenders – Landschaften, Photographien. Van 18 april t/m 16 augustus 2015 in Museum Kunstpalast, Düsseldorf. smkp.de

dinsdag 10 oktober 2017

Hiroshima-Nagasaki Document 1961 Ken Domon Shomei Tomatsu The Japanese Photobook 1912–1990 Photography

Hiroshima-Nagasaki Document 1961 (Ken Domon, Shomei Tomatsu & others)

“This book–along with Ken Domon’s Hiroshima (1958), Kikuji Kawada’s The Map (1965)and Tomatsu’s 11.02 Nagasaki (1966), and –represents one of the most significant attempts on the part of photographers to memorialize the horror of the 1945 atomic bomb blasts. As Parr and Badger point out, they also mark a progression from a more "sober and didactic tone” to one that is “more symbolic [and] emotive”. Published under the auspices of The Japan Council Against the A and H Bombs, this book comes much closer–in feel at least–to an ‘official’ history than the two books that followed. Many of the photos contained here were reproduced in Tomatsu’s 11.02 Nagasaki, but to very different effect.“ - photoeye

"From pictorialism to Provoke: the most extensive history of Japanese photobooks ever published" Among others the over 500 pages counting book features such renowned photographers as Yoshio Watanabe, Akira Hoshi, Hayao Yoshikawa, Shinichi Kato, Yasuo Wakuda, Tetsuo Kitahara, Moriyama Daido, Koji Taki, Takuma Nakahira, Yutaka Takanashi, Kimura Ihei, Hamaya, Katura, Kazano, Kikuti, Mituzumi, Watanabe, Yamahata, Sozo Okada and Kazano Karuo, among many others. -- "'The Japanese Photobook, 1912–1980' illustrates the development of photography as seen in photo publications in Japan—from the time of influence by European and American pictorialism, the German Bauhaus and Imperial military propaganda, to the complete collapse and destruction of the country in 1945. Then followed a new beginning: with the unique self-determination of a young generation of photographers and visual artists highlighted by the “Provoke” style as well as protest and war documentation of the late 1950s to the early ’70s, the signature Japanese photobook, as we have come to know it, was born.

With detailed information and illustrations of over 400 photo publications, an introduction by Kaneko Ryuichi and essays by Fujimura Satomi, Duncan Forbes, Manfred Heiting, Mitsuda Yuri, Lizawa Kotaro, Shirayama Mari and Matthew S. Witkovsky, this is the first extensive English-language survey of Japanese photobooks of this period." (publisher's note)

About the main author:
Ryuichi Kaneko is a critic, historian, and collector of photobooks. He has authored or contributed to numerous publications, including 'Independent Photographers in Japan 1976–83' (Tokyo Shoseki, 1989), 'The History of Japanese Photography' (Yale University Press and Museum of Fine Arts, Houston, 2003), 'Japanese Photobooks of the 1960s and ’70s' (Aperture, 2009), and 'Japan’s Modern Divide' (J. Paul Getty Museum)

See also 

Five Aspects of Japanese Photobooks Ryuichi Kaneko Photobook Phenomenon