On ‘reproduction’ – The tea bowls of Kohei Nakamura (Part 2) Kohei Nakamura – Red Raku tea bowl (2012) Kazuo Yagi wrote an interesting essay on the subject of “reproduction”: On Kiyomizu-zaka there was an artist skilled in “reproduction.” HisView More >
On “reproduction” – The tea bowls of Kohei Nakamura (Part 1) Kohei Nakamura – Wall: Rules of Form (2012). Foreground:Throne of Idea (2004). Installation view at “Art Crafting Towards the Future (2012) at the 21st Century Museum of Contemporary Art,View More >
Frames ≠ layers: The photography of Tamotsu Kido Born in 1974 and a graduate of the oil painting course at Aichi Prefectural University of Fine Arts and Music, Tamotsu Kido is familiar to those in the know as a photographer.View More >
Critical Fieldwork 28 Neither decolorized nor faded – The latest color photographs by Daido Moriyama (Part 3) As is well known, Stieglitz “seceded” from pictorial photography that did no more than mimic symbolist or impressionist painting to pursue “the ideaView More >
Neither decolorized nor faded – The latest color photographs by Daido Moriyama (Part 2) Let us summarize the main points so far. 1) Looking back at Daido Moriyama’s “photographs of memories” from the second half of the 2000s onwards, weView More >
Neither decolorized nor faded – The latest color photographs by Daido Moriyama (Part 1) Daido Moriyama – Tokyo (2012) All images © Daido Moriyama, Courtesy of Taka Ishii Gallery and Office Daido. We often say things like “a single photograph”View More >
The World of Non-sensuous Similarity: Keisuke Matsuda’s Painting Keisuke Matsuda – Untitled (2008). All images: Courtesy the artist. When viewing an artist’s work for the first time, we inevitably measure their individuality according to some kind of standard of “proficiency.”View More >
Video and rhythm: Akira Miyanaga’s arc (2011) and scales (2011) (Part 2) Still from arc (2011), HD video, 7 min 30 sec. Courtesy the artist and Kodama Gallery. In minimal music, “repetition” is significant in the respect that it producesView More >
Video and rhythm: Akira Miyanaga’s arc (2011) and scales (2011) (Part 1) Generally speaking, the video art one sees these days in art exhibitions projected onto single or multiple screens in dark, partitioned rooms can be classified into three groups.View More >
Collage and Photography: Naruki Oshima’s New Series ‘haptic green’ (Part 2) Risaku Suzuki Mont Sainte Victoire NZP-10 (2001), type C print, 40.7 x 50.8 cm. Courtesy Gallery Koyanagi. Naruki Oshima’s “haptic green” is a series of collages each made byView More >
Collage and Photography: Naruki Oshima’s New Series ‘haptic green’ (Part 1) Reflections – 0606 (2006), Lambda print mounted on Plexiglas, 120 x 123cm, edition of 5. All images: Courtesy Gallery Nomart. Having exhibited work at the International Architecture Biennale RotterdamView More >
Tracing Masanori Handa, 2007-2011 Curated by Midori Matsui, “The Door into Summer: the Age of Micropop,” held at Art Tower Mito in 2007, took a fresh look at Japanese contemporary art since 1995. Premised on the concept of a “doorView More >