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 >
A Restatement: The Art of ‘Ground Zero’ (Part 19) “Yasashii Bijutsu” and Takashi Tosu II Takashi Tosu – Oshima leprosy sanatorium, film #00. All photos: From Nobuyuki Takahashi’s Twitter (@yasashiibijutsu). This photo posted August 2, 2014. The manner in whichView 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 >
A Restatement: The Art of ‘Ground Zero’ (Part 18) “Yasashii Bijutsu” and Takashi Tosu I Yasashii Bijutsu Project – Café Shiyoru. Photo Kimito Takahashi. All photos courtesy Art Setouchi Executive Committee. “I want to be critiqued and questioned exhaustively.” ThisView 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 >
A Restatement: The Art of ‘Ground Zero’ (Part 17) Kota Takeuchi and Fukushima II: The Correlation/Reciprocation between Paintings and Twitter Kota Takeuchi – “Ego Search” series (2013), oil on canvas, 162 x 130.3 cm each. Installation view at “Sight ConsumingView 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 >
A love parade under the guise of a demo – Ellie (Chim↑Pom)’s “LOVE IS OVER” Invitaion to LOVE IS OVER (2014), postcard, stamp, horse blood, seal. Design: Hidenori Yoshioka. Photo: Kenji Morita. News that Ellie, the sole female member ofView More >
A Restatement: The Art of ‘Ground Zero’ (Part 16) Kota Takeuchi and Fukushima I: The demolition and rebirth of Mihako Theater Kota Takeuchi – Demolition of Mihako Theater (2013), two-channel video projection, movie screen, camera, benches. Late last year IView 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 >