Daido ongoing

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Daido Moriyama, 森山 大道, is the ultimate street photographer. He’s been walking the streets of Tokyo with one compact camera or another in his hand for going on sixty years, snapping fragments of the city and its inhabitants from his singular perspective, both capturing and helping to shape the city’s distinctive character.

A nicely curated exhibiton of Moriyama’s mostly recent work is currently showing at the TOP Museum in Ebisu. The images in Moriyama Daido’s Tokyo: ongoing are spread over three rooms. Greeting the visitor in the first space is a large gelatin silver print of the photographer’s iconic Stray Dog, Misawa, placed by a Warhol-esque silk-screened mosaic of cloned lips, half monochrome, half in color, covering one wall like pop art wallpaper. Opposite is a series of striking oversized inky black, high contrast silk-screened portraits, grainy, some resembling pointilist artworks. The larger adjoining central space contains the bulk of the works and also groups images into tiled mosaics, three photos high, monochrome on one side of the room, color on the other. Close up images of hair, legs and signs are mixed in with frames of alleys, pedestrian crossings and other streetscapes. Here and there is the occasional portrait or reflected self-portrait. The effect of juxtaposing so many images is to give a sense of the city’s at times overwhelming kinetic energy, especially in the color photos, many of them quite lurid. A pair of square glass-topped tables frame monochrome collages, formed by layering and overlapping prints at seemingly random angles, hiding and revealing elements of each. Given the visual complexity on show in this space, there’s plenty to take in, so a small third space serves as a kind of decompression chamber. It’s cloistered, hidden by heavy curtains, and features a few black and white frames from Moriyama’s abstract mesh tights series, each incandescent with the backlighting of the digital screen it is displayed on. The atmosphere here is intimate, contemplative, personal, and despite the eroticism of the photos, is more church confessional than peep show.

A good exhibition is always invigorating. In photography, as in all creative pursuits, it’s sometimes hard to maintain momentum. Moriyama himself bid farewell to photography in 1972 with his book shashin yo sayonara. His hiatus was fortunately short lived and he has since applied himself to his art: Moriyama has one hundred and fifty or so books to his name, has been exhibited dozens of times around the world and has received a handful of prestigious photography awards — and he’s still out on the streets with his camera almost every day. The 81 year old photographer is an inspiration.

Note: photography is not allowed in this exhibition; the photo above was taken in 2016 at another Moriyama exhibition in Tokyo.

What am I doing?

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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.

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Exhibitionism

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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.