Collage, Pop Art, Clyfford Still: Teppei Kaneuji’s ‘Post-Something’ at ShugoArts White paintings, cloisonnism, coffee staining, and clippings of brushstrokes and touches of paint… or in other words painterliness; and seals, figures, driftwood, pipes, and wrapping paper… or in other wordsView More >
For ‘Shomei Tomatsu: Hues and Textures of Nagasaki’ Part 3: Darkness and Colors Between the “ethic of presenting things as they are” and the artificial space-time of “occupation,” the black and white photographs that serve as an expression of theView More >
For ‘Shomei Tomatsu: Hues and Textures of Nagasaki’ Part 2: 11:02 Nagasaki If “Japan as it really exists” is absent, where is the reality, the “decisive moment,” of post-war “Japan”? In 1961, 16 years after the moment the atomic bombView More >
For ‘Shomei Tomatsu: Hues and Textures of Nagasaki’ Part 1: Historical background So long as photographs are in the final analysis pictures, irrespective of how much the photographer tries to put their own interests to one side, an aesthetic judgmentView More >
From Collage/To Collage Varda Caivano – Untitled (2007), oil on canvas, 51 x 70 cm. Courtesy Tomio Koyama Gallery. Varda Caivano at the Tomio Koyama Gallery Kyoto; William Kentridge at the National Museum of Modern Art, Kyoto; the photographs ofView More >
Developing Posteriority: Yuki Kimura’s ‘posteriority’ at the Daiwa Press Viewing Room Found photographs and surrealism The found photographs are a series of “intriguing photographs” the artist happened to came across amongst a stack of amateur snaps that found their wayView More >