Invention: Keisuke Matsuda ‘Stabilization 3’ ＠ eN arts Keisuke Matsuda – Untitled (2015) Objects whose secret is not their expression, their representative form, but on the contrary their condensation and their subsequent dispersion in the cycle of metamorphoses. In fact,View More >
‘Okinawa’ and ‘Portrait’: – Ryuichi Ishikawa’s Okinawan Portraits 2010-2012 Ryuichi Ishikawa – from Okinawan Portraits 2010-2012 I have already touched on the portraits of Ryuichi Ishikawa (b. 1984) in a previous column (Critical Fieldwork 48: Japanese Portraits). I noted thatView More >
Photographs as graves: Taiji Matsue’s JP-01 SPK (Part 3) Another “departure” that is striking in the context of this photobook is the use of oblique composition, which applies to just two works: JP01-73 and SPK44134.(1) To repeat, oblique composition isView More >
Photographs as graves: Taiji Matsue’s JP-01 SPK (Part 2) JP01-80 from Taiji Matsue’s photo book JP-01 SPK (AKAAKA, 2014) All images: © Taiji Matsue, courtesy the artist and Taro Nasu. The first 11 works in the photobook are all photosView More >
Photographs as graves: Taiji Matsue’s JP-01 SPK (Part 1) Taiji Matsue’s new photobook, JP-01 SPK (AKAAKA, 2014) is, as the city code of the title suggests, a book dedicated to one city: Sapporo. However, perhaps because the subject has beenView More >
From Karatsu, to Karatsu – The Adventures of Yasumoto Kajiwara (Part 2) Hearing that Kajiwara favors using “materials and firing methods of the time,” you can imagine just how difficult the creative process is, but Kajiwara’s methods are always clear-cutView More >
From Karatsu, to Karatsu – The Adventures of Yasumoto Kajiwara (Part 1) Japanese contemporary ceramics originate from two movements that developed in the 1920s and ’30s; namely, the mingei (folk craft) movement founded by Soetsu Yanagi (1), and the MomoyamaView More >
Japanese Portraits: Ryuichi Ishikawa, Shinichiro Uchikura, Yosuke Harada I once referred to the tendency among the generation of photographers from the likes of Takashi Yasumura (b. 1972) to the subject of my previous column, Yosuke Takeda (b. 1982), which wasView More >
Isolation and distance, or light in a box and light on paper Since winning successive Canon New Cosmos of Photography Honorable Mention awards in 2007 and 2008 and holding his debut solo exhibition in 2009, Yosuke Takeda (b. 1982) hasView More >
Clay and Form: A review of the Ryuichi Kakurezaki exhibition ‘Serving for Integrity’ Opened in April 2003, the Kikuchi Kanjitsu Memorial Musée Tomo, situated next to the Okura Hotel in Tokyo, is a relatively new art museum, but having hostedView More >
Beyond trompe l’oeil – how Shunsuke Kano learns from the past Inspired by the “1968 – Japanese Photography” exhibition at the Tokyo Metropolitan Museum of Photography, it seems I devoted a few too many columns in the second half ofView More >
Provoke and Con-pora VI Shigeo Gocho reconsidered: Familiar Street Scenes In Self and Others, the relationship conveyed via the photographs is limited to that between the self and others standing face to face, and the stage for the absorption inView More >