What am I doing?

DSCF0982

An unseasonally wintery day, wet and icy, bleak. A perfect day to escape to the warmth and stimulation of a gallery. I visited the TOP museum to look at photos by an artist I hadn’t heard of: Eiko Yamazawa.

Osaka-born Yamazawa was a creative pioneer who had a long, somewhat unusual life for a Japanese woman of her time. Born in 1899, she studied painting before traveling alone to America in her 20s, where she took up photography. Back in Japan in the 1930s she established a successful commercial photography practice specializing in portraiture.

She returned to America after the war and, influenced by mid-century modernism and abstract art, she herself started experimenting with photography as abstract art. From colorful work with echoes of Miró and Matisse to quirky still life studies and minimalist monochrome abstractions that bring to mind the suprematist art of Kazimir Malevich, Yamazawa’s photography morphed into art, her photographs’ content became color and form.

In 1960 she shut down her commercial practice to focus on her art. She traveled and studied in the US and Europe and, at an age when most people would be easing up, she continued to hone her vision through the 1970s and 80s with her ongoing What I am doing series of photographs. She worked and exhibited well into old age and died in 1995 aged 96.

It seems that artists make wonderful photographs when adopting the camera as a tool of expression. Cartier-Bresson, David Hockney, Man Ray and Andy Warhol, to name a few, have explored the boundaries of the medium. Yamazawa’s work is no less interesting ― or inspiring.

DSCF0984

Exhibitionism

IMG-5AA1A876

Series of shadow boxes line the walls of a rail underpass by Nakano Station. They often display community information, images of neigborhood festivals, or colorful drawings rendered by local elementary school students. For the time being they’ve become a contemporary art gallery.

Tokyo photographer—and self-described non-fiction writer—Inbe Kawori (インベ カヲリ) has commandeered one wall of the underpass to exhibit a selection of his works.

The edgy urban photographs, gritty environmental portraits of women, sometimes surreal, often eroticized, with faint echoes of Daido and Araki, printed to fill the display cases, are perfectly placed here on the streets of Nakano, with its jumble of old and new restaurants, stores and homes, its congested commercial center, quiet residential areas and lively entertainment district.

I’ve had passing thoughts about this kind of art exhibition, but I’m really impressed with the actuality of it. Here’s to more street art.