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RECORD No.57
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Let’s assume there is some brainwave that suddenly prompts me to think about the present state of photography in Japan.
Fact of the matter is, I’m quite simply not really interested in such things in the first place, because no matter what I came up with as an answer, you would reply that photography and photographers in Japan, and just about everywhere else in the world, have long been living in their own respective bubble, seriously dedicated to their own thing in their own reality.
That would make perfect sense to me, and as a result, I would once again get caught up in a state of mind unable to pursue – let alone answer – the question what exactly photography means to me now.
A photograph is something that fragmentarily reflects the sensibility and sensitivity of a photographer in the very moment he or she releases the shutter, and the things in it instantly become the photographer’s own. But once it is reproduced and printed or exhibited, it disperses into the multifariously shaded folds of the audience’s gaze, where it establishes itself as a unique and hard new reality, and as a manifestation of some kind of memory, which again works as a mighty, enigmatic tool that connects past, present and future.
It is nothing more and nothing less than a camera, and we photographers can only take our hats off to Monsieur Nicéphore Niépce and thank him for inventing it.
These are the things that I have on my mind as I look back on another day of wandering around and taking snapshots in the streets; another day of asking myself what photography is all about, and being reminded that it’s just the great thing that it is.
– from afterwords by Daido Moriyama
- Size
- 280 x 210 mm
- Binding
- Softcover
- Pages
- 104
- Publication Date
- June 28, 2024
- Publisher
- Akio Nagasawa Publishing
Daido MORIYAMA
森山大道
Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ’70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as “are, bure, boke” (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York’s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama’s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The “William Klein + Daido Moriyama” exhibition together with William Klein at London’s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.
Publications of Daido MORIYAMA
Special Edition Rare Signed
View from the Laboratory (Special Edition) B
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Provocative Relationship=MORIYAMA Daido x NAKAHIRA Takuma
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Memories of a Dog (Deluxe Edition with print)
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TOKYO REVISITED: Daido Moriyama with Shomei Tomatsu
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TOKYO POLYTECHNIC UNIVERSITY Shadai Gallery Daido Moriyama Archive 1960 − 1982
Daido MORIYAMA
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TIGHTS IN SHIMOTAKAIDO (Special Edition) C
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TIGHTS IN SHIMOTAKAIDO (Special Edition) B
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Limited Edition Portfolio of 10 Silkscreen Prints "Odasaku"
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RECORD Extra Issue No.1 [Daido Moriyama x Hajime Sawatari]
Daido MORIYAMA, Hajime SAWATARI
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RECORD Extra Issue No.1 [Daido Moriyama x Hajime Sawatari] (Special Edition)
Daido MORIYAMA, Hajime SAWATARI
$1,069.86
Prints of Daido MORIYAMA
