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Critical Fieldwork 54

‘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 >

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Critical Fieldwork 53

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 >

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Critical Fieldwork 52

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 >

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Critical Fieldwork 51

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 >

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Critical Fieldwork 50

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 >

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Critical Fieldwork 49

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 >

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Critical Fieldwork 48

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 >

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Critical Fieldwork 47

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 >

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Critical Fieldwork 46

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 >

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Critical Fieldwork 45

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 >

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