BLACK OUT: FOTOGRAFIA GIAPPONESE CONTEMPORANEA is now part of the Asia-Pacific Photobook Archive

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Title: Black Out – Fotografia Giapponese Contemporanea (Contemporary Japanese Photography)

Photographers: Tomoki Imai (今井智己), Haruna Kawanabe, Keiji Tsuyuguchi (露口啓二), Tomoko Isoda (磯田智子), Koji Onaka (尾仲浩二), Asako Narahashi (楢橋朝子), Risa Kayahara & Erika Yoshino (吉野英理香) – Curated by Tara Omano (Yokohama Museum of Art)

Date of publication: 2002

Place of publication: Japan

Language: Italian/English

Dimensions of book: 255x180mm

Number of pages:

Number of images:

Cover, Type of binding: Cardboard casing, thread sewn binding

Type of printing: Offset

Type of paper: Uncoated matte

Printer: Toppan Co. Ltd.

Publisher: The Japan Foundation

Publication editor: Taro Amano, Yokohama Museum of Art

ISBN:

Retail price: NZ $90

This exhibition catalogue accompanied the first major exhibition of Japanese photography organised by the Japan Cultural Institute in Rome. The catalogue features an introduction by the exhibition curator Taro Amano –  (excerpt)”This exhibition introduces a certain aspect of current Japanese photography, but it does not pretend to present a well defined movement. This is not simply because the exhibition is limited to a small number of artists or that it leaves out some of the better known Japanese photographers who have been given the most exposure at home and abroad in recent years. Strictly speaking, it is mainly because photographic expression has become so diverse, and this very diversity makes it impossible to identify a single tendency … I hope to show the existence of an attitude in contemporary photography, not restricted to Japan, that sees human subjects as objects that are part of the landscape and engages with place in a way that emphasizes its anonymity, an attitude that avoids entanglement with the history or politics of a particular place. The stance taken by these photographers emphasizes the importance of how one looks at something rather than what is being photographed, hopefully providing viewers with an opportunity to reexamine the basic possibilities contained in the act of looking at a landscape.’

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