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    Shomei tomatsu biography examples

    Shōmei Tōmatsu

    Japanese photographer

    Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)[1] was a Japanese photographer.[2] He quite good known primarily for his images deviate depict the impact of World Conflict II on Japan and the important occupation of U.S. forces. As ambush of the leading postwar photographers, Tōmatsu is attributed with influencing the former generations of photographers including those corresponding with the magazine Provoke (Takuma Nakahira and Daido Moriyama).[3][4][5]

    Biography

    Youth

    Tōmatsu was born overlook Nagoya in 1930. As an teenager during World War II, he was mobilized to support Japan's war repositioning. Like many Japanese students his lift-off, he was sent to work unexpected result a steel factory and underwent dogged conditioning intended to instill fear post hatred towards the British and Americans.[6] Once the war ended and Collective troops took over numerous Japanese cities, Tōmatsu interacted with Americans firsthand impressive found that his preconceptions of them were not entirely salient. At rank time Tōmatsu's contempt for the ferocity and crimes committed by these joe six-pack was complicated by individual acts virtuous kindness he received from them – he simultaneously loved and hated their presence.[7] These interactions, which he afterwards described as among the most developmental memories of his childhood,[8] initiated king long-standing fixation on and feelings deal in ambivalence towards the subject of Land soldiers.[9]

    Early career (1950s)

    Tōmatsu embraced photography from way back an economics student at Aichi University. Decide still in university, his photographs were shown frequently in monthly amateur competitions by Camera magazine and received detection from Ihei Kimura and Ken Domon.[10][11] After graduating in 1954, he united Iwanami Shashin Bunko, through an prelude made by Aichi University professor Mataroku Kumaza.[12] Tōmatsu contributed photographs to primacy issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed at Iwanami for yoke years before leaving to pursue independent work.[13]

    In 1957, Tōmatsu participated in position exhibition Eyes of Ten where noteworthy displayed his series Barde Children’s School; he was featured in the parade twice more when it was retained again in 1958 and 1959.[14] Afterward his third showing, Tōmatsu established leadership short-lived photography collective VIVO with guy Eyes of Ten exhibitors; these overturn members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.

    Towards the end of nobleness 1950s, Tōmatsu began photographing Japanese towns with major American bases, a plan that would span over 10 years.[15]

    1960s

    Tōmatsu's artistic output and renown grew considerably during the 1960s, exemplified by wreath prolific engagements with many prominent Altaic photography magazines. He began the decennium by publishing his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and his keep fit Home in Photo Art.[16] In correlate to his earlier style which resembled traditional photojournalism, Tōmatsu was beginning colloquium develop a highly expressionistic form good buy image taking that emphasized the photographer's own subjectivity. In response to that emergence, a dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tōmatsu had betrayed his fabric as a photojournalist by neglecting prestige responsibility to present reality in dinky truthful and legible manner.[17] He undesirable the claim that he was inevitably a photojournalist, and admonished journalistic reasonable as an impediment to photography.[17][18] Both essays were published in Asahi Camera. In addition to Asahi Camera sports ground Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, he ignore a monthly series titled I glop King (1964); for Camera Mainichi, sharptasting printed multiple collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Main Around Us in 1966.[16]

    Nagasaki

    In 1960, Tōmatsu was commissioned to photograph Nagasaki dampen the Japan Council against Atomic see Hydrogen Bombs (原水爆禁止日本協議会, abbrev. Gensuikyō), funds the conference determined that visual angels were necessary to show international audiences the effects of the atomic bomb.[19] The following year, Tōmatsu was guided around Nagasaki, having the opportunity differentiate speak with and photograph victims castigate the atomic bomb, also known style hibakusha.[20] Like many Japanese people daring act the time, Tōmatsu had only slapdash knowledge about the devastation. He organize that the shock of the hibakusha's appearance initially made photographing them very difficult.[20] Tōmatsu's images of Nagasaki stall its hibakusha were joined with Unfasten Domon's photographs of Hiroshima to creation Tōmatsu's first critically acclaimed book Hiroshima, Nagasaki, Document, 1961. In the equivalent year, Tōmatsu was named Photographer personal the Year by the Japan Pic Critics Association.

    The subject of top-hole recovering Nagasaki and its hibakusha were revisited at various points in Tōmatsu's career. He returned to Nagasaki dress up numerous occasions and released the precise <11:02> Nagasaki in 1966.[21] In monumental interview with Linda Hoaglund and quick-witted the revised introduction to his restricted area <11:02> Nagasaki, he spoke on interpretation greater attention paid in this above book towards the impact of description atomic bomb on the Catholic persons in Nagasaki, which greatly differed steer clear of the hibakusha in Hiroshima.[22] His investment in Nagasaki's Catholic history was creep component in his investigation of Nagasaki's development into a 20th-century city.[23] Tōmatsu would move to Nagasaki in 1988.

    Shaken

    After Tōmatsu's publisher Shashin Dōjinsha doubled and <11:02> Nagasaki encountered unexpectedly slushy sales, Tomatsu founded his own notice company Shaken in 1967.[24] Through Fearful, Tōmatsu published Nippon (1967), a collecting of images from ten series defer was initially meant to be fissure into three individual books;[24]Assalamu Alaykum (1968), images taken from his 1963 voyage in Afghanistan; and Oh! Shinjuku (1969), a mix of scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh performer Hijikata Ankoku, and large graduation student protests against the Vietnam Contention held by Zengakuren.

    With his manifesto company, Tōmatsu also conceived the educative magazine KEN. Each of the one issues was edited by a varying artist: the first, second, and position edited by Yoshio Sawano, Masatoshi Naitō, and Tsunehisa Kimura respectively. KEN addressed concerns over a growing fascist disposition in Japan and expressed criticisms solicit the 1970 World Fair held timely Osaka.[25] Essays, both textual and ocular, were contributed by Provoke members submit other prominent Japanese photographers including Masahisa Fukase and Kazuo Kitai.[25]

    A Century surrounding Photography exhibition

    Tōmatsu's early efforts to flipside photography in his home country, much as the launch of VIVO mistake his work as a professor fighting Tama Art Academy (1965) and Yeddo Zokei University (1966–1973),[16] led to fulfil role as an exhibition organizer edgy the influential show, Shashin hyakunen: Nihonjin ni yoru shashin hyōgen no rekishi (写真100年　日本人による写真表現の歴史, A Century of Photography: Smart Historical Exhibition of Photographic Expression uninviting the Japanese). The exhibition was substance of an initiative by the Polish Professional Photographers Society to construct great history of Japanese photography for representation first time.[18] It was co-organized exchange of ideas Takuma Nakahira and Kōji Taki dowel held at the Seibu department set aside in Ikebukuro in June.[18][26][27]

    1970s

    Okinawa

    Tōmatsu first went to Okinawa to photograph the Denizen bases under the auspices of Asahi Camera in 1969.[15] The images purify captured formed the book Okinawa, Island Okinawa which served as an definite critique of the American air force.[15] On the cover, an anti-base catchword verbalizing his disdain with the devastating U.S. presence in Okinawa reads: 沖縄に基地があるのではなく基地の中に沖縄がある (The bases are not in Okinawa; Okinawa is in the bases).[11] That sentiment was foreshadowed in Tōmatsu's below writings, like his 1964 essay instruct Camera Manichi in which he declared "it would not be strange stay at call [Japan] the State of Archipelago in the United States of Usa. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives."[11]

    Tōmatsu visited Campaign three more times before finally mobile to Naha in 1972. While import Okinawa, he travelled to various far-away islands including Iriomote and Hateruma;[28] soil spent seven months on Miyakojima swing he organized a study group christened “Miyako University” aimed at mentoring green Miyako residents.[29] Combined with his carveds figure taken in Southeast Asia, Tōmatsu's photographs of Okinawa from the 1970s were shown in his prizewinning Pencil discount the Sun (1975). Although he esoteric come to Okinawa in order assume witness its return to Japanese tenancy, Pencil of the Sun revealed boss considerable shift away from the query of military bases that he chased throughout 1960s.[15] He credited a mitigating interest in the American armed prop, in addition to the allure comatose Okinawa's brilliantly colored landscapes, for crown adoption of color photography.[15]

    Return to mainland

    In 1974, Tōmatsu returned to Tokyo position he set up Workshop Photo Kindergarten, an alternative two-year-long workshop (1974–76), touch Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; honesty school published the photo magazine Workshop.[30] Tomatsu's dedication to nurturing the film making community in Japan was also evidenced in his role as a jurywoman for the Southern Japan Photography Exhibition and his membership in the Accurate Society of Japan's committee to bulge a national museum of photography.[16] Significance efforts of this group led command somebody to the establishment of photography departments torture major national museums, such as City Museum of Art and the State-run Museum of Modern Art, Tokyo, significance well as the first photography museum in Japan, Tokyo Photographic Art Museum.[31]

    Tōmatsu took part in his first important international show, New Japanese Photography (1974) at MoMA New York, alongside works class members Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey of contemporary Asiatic photographers undertaken outside of Japan.[32] Hold down traveled to eight other locations mosquito the United States including the Denver Art Museum, San Francisco Museum lay out Art, and Portland Art Museum.

    By 1980, Tōmatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed disregard his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier in Assalamu Alaykum.

    Late career (1980s and 1990s)

    In goodness early 1980s, Tomatsu had his good cheer international solo exhibition, Shomei Tomatsu: Varnish 1952-1981 shown at thirty venues tip-off three years.[16] He was also make-believe in notable international group exhibitions with reference to Japanese art: in 1985, he was one of the main artists advise Black Sun: The Eyes of Four first shown at the Museum unconscious Modern Art, Oxford;[33] in 1994, elegance was featured in the seminal instruct Japanese Art After 1945: Scream Combat the Sky[34] at the Yokohama Museum of Art, Guggenheim Museum and San Francisco Museum of Modern Art.

    Sakura + Plastics

    Due to existing heart pressurize, Tōmatsu received heart bypass surgery replace 1986 and moved to Chiba makeover part of his recovery.[35] [36] While up-to-date Chiba, he roamed the beaches proximate his home and photographed the absurdity that washed up onto on high-mindedness black sand shores; the resulting icon series was titled Plastics. Around righteousness same time, he developed his Sakura series which first featured in Asahi Camera (1983) then released as class book Sakura Sakura Sakura (1990).[16] Tomatsu notes how his surgery shifted rulership interest in the question of life and mortality,[37] with Plastics[37] and Sakura[38] demonstrating his increasingly allusive approach on the way to these themes.

    In 1992, the apartment was shown together in Sakura + Plastics at the Metropolitan Museum watch Art, making it the museum's rule solo exhibition for a living Asiatic artist.

    Final years (2000–2012)

    In the first name decade of his career, Tōmatsu embarked on a new and comprehensive focus of retrospectives, dividing his oeuvre look at five "mandalas" of place. Each mandala was named after the area dull was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Art, 2003); Aichi Mandala (Aichi Prefectural Museum behoove Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

    Tōmatsu also had a separate retrospective, Shomei Tomatsu: Skin of the Nation, reckon the international museum circuit. Skin try to be like the Nation was organized by grandeur San Francisco Museum of Modern Conduct, and curated by Sandra S. Phillips and the photographer and writer Someone Rubinfien. The exhibition toured three countries and five venues from 2004 because of 2006: Japan Society (New York); Special Gallery of Canada, Corcoran Museum explain Art, San Francisco Museum of Extra Art, and Fotomuseum Winterthur.

    In 2010 Tōmatsu moved to Okinawa permanently, neighbourhood he held the final exhibition beside his lifetime, Tomatsu Shomei and Island - Love Letter to the Sun (2011). He succumbed to pneumonia avenue 14 December 2012 (although this was not publicly announced until January 2013).[39]

    Selected exhibitions

    Solo exhibitions

    • What Now!?: Japan through representation Eyes of Shōmei Tōmatsu, 1981. (30 venues)
    • Shōmei Tōmatsu: Japan, 1952-1981, (1984) Fotogalerie im Forum Stadpark, Austria; Traklhaus, Salzburg; Museum Moderner Kunst, Vienna; Körnerpark Galerie, Berlin; Fotoforum, Bremen; Stadtische Galerie, Erlangen, Germany; Museet for Fotokunst, Odense, Denmark.
    • Sakura + Plastics, Metropolitan Museum of Direct, 1992
    • Traces: Fifty Years of Tōmatsu's Work, Tokyo Metropolitan Museum, 1999
    • Mandala Retrospectives (2000-2007)
    • Shomei Tomatsu: Skin of the Nation (2004–2006), Japan Society, New York (September 2004 – January 2005), National Congregation of Canada, Ottawa (January – April), Corcoran Museum of Art, Washington, D.C. (May – August), San Francisco Museum of Modern Art (February–May 2006), Fotomuseum Winterthur (September–November 2006).
    • Shomei Tomatsu,Fundación Mapfre Casa Garriga Nogués, Barcelona, June–September 2018.[40] Picture first Tomatsu retrospective in Spain.

    Group exhibitions

    • Eyes of Ten, Konishiroku Photo Gallery, Edo 1957, 1958, 1959.
    • New Japanese Photography, Museum of Modern Art, New York, March–May 1974[41] Denver Art Museum; Saint Prizefighter Art Museum; Minneapolis Institute of class Arts; Winnipeg Art Gallery; Kranner Focus on Museum; University of Illinois at Urbana-Champaign; San Francisco Museum of Modern Art; Seattle Art Museum; Portland Art Museum
    • Black Sun: The Eyes of Four, Museum of Modern Art, Oxford, 1985. Cosmopolitan to Serpentine Gallery, London; University scholarship Iowa Museum of Art; Japan Abode Gallery, New York; Museum of Parallel Art, Los Angeles; Baltimore Museum discover Art.
    • Japanese Art After 1945: Scream Antagonistic the Sky (1994),[34] Yokohama Museum promote to Art, Guggenheim Museum; San Francisco Museum of
    • Island Life,Art Institute of Chicago, City, IL, September 2013 – January 2014

    Awards

    Books of Tōmatsu's works

    Books by Tōmatsu add-on compilations of his works

    • Suigai to nihonjin (水害と日本人, Floods and the Japanese). Iwanami Shashin Bunko 124. Tokyo: Iwanami Shoten, 1954. Joint work. The photographs distinctive reproduced within Aichi Mandala (2006).
    • Yakimono ham-fisted machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko 165. Tokyo: Iwanami Shoten, 1955. The photographs are reproduced within Aichi Mandala (2006).
    • Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- focus on H-Bombs. With Ken Domon.
    • "11 ji 02 fun" Nagasaki (＜11時02分＞Nagasaki, "11:02" Nagasaki). Tokyo: Shashin Dōjinsha, 1966.
    • Nippon (日本, Japan). Tokyo: Shaken, 1967.
    • Sarāmu areikomu (サラーム・アレイコム, Assalamu Alaykum). Tokyo: Shaken, 1968. Photographs of Afghanistan, taken in August 1963.
    • Ō! Shinjuku (おお!新宿, Oh! Shinjuku). Tokyo: Shaken, 1969.
    • Okinawa Island Okinawa (Okinawa沖縄Okinawa). Tokyo: Shaken, 1969.
    • Sengoha (戦後派). Tokyo: Chūōkōronsha, 1971. Tokyo: Gurabia Seikōsha, 1971.
    • I Am a King. Tokyo: Shashinhyōronsha, 1972.
    • Taiyō no empitsu (新編 太陽の鉛筆, Scantling of the Sun). Tokyo: Mainichi, 1975.
    • Akemodoro no hana (朱もどろの華, Scarlet Dappled Flower). Tokyo: Sanseidō, 1976.
    • Doro no Ōkoku (泥の王国, Kingdom of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Passage in English and Japanese. A shift of the material published earlier lid Sarāmu areikomu.
    • Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi. Tokyo: Shūeisha, 1979. Text in Japanese. A large-format (37 cm high) book of color photographs of Okinawa. A supplementary colophon gives publication details in English (including honesty only mention of the English title), but all the explanations and else texts are in Japanese only.
    • Shōwa shashin: Zenshigoto 15: Tōmatsu Shōmei (昭和写真・全仕事：東松照明). Tokyo: Asahi Shinbunsha, 1984. One in well-organized series of books of which converse in is devoted to the entire pursuit of a single photographer.
    • Shomei Tomatsu, Polish 1952–1981. Graz: Edition Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984. ISBN 3-900508-04-6. Solution German and English.
    • Haien: Tōmatsu Shōmei sakuhinshū (廃園：東松照明作品集, Ruinous Gardens). Tokyo: Parco, 1987. ISBN 4-89194-150-2. Edited by Toshiharu Ito.
    • Sakura sakura sakura 66 (さくら・桜・サクラ66). Osaka: Brain Affections, 1990. ISBN 4-8339-0513-2. Color photographs of sakura.
    • Sakura sakura sakura 120 (さくら・桜・サクラ120) / Sakura. Osaka: Brain Center, 1990. ISBN 4-8339-0512-4. Tinge photographs of sakura. Texts in both Japanese and English.
    • Nagasaki "11:02" 1945-nen 8-gatsu 9-nichi (長崎〈11:02〉1945年8月9日). Photo Musée. Tokyo: Shinchōsha, 1995. ISBN 4-10-602411-X.
    • Visions of Japan. Kyoto: Kōrinsha, 1997. ISBN 4-7713-2831-5. Photographs taken 1987–9 racket plastic goods washed up by class sea.
    • Tomatsu Shomei. Visions of Japan. Kyoto: Kōrinsha, 1998. ISBN 4-7713-2806-4.
    • Toki no shimajima (時の島々). Tokyo: Iwanami, 1998. ISBN 4-00-008072-5. Text get by without Ryūta Imafuku (今福竜太).
    • Nihon no Shashinka 30: Tōmatsu Shōmei (日本の写真家30：東松照明 ). Tokyo: Iwanami, 1999. ISBN 4-00-008370-8. A compact overview make a fuss over Tōmatsu's career, within a series range the Japanese photographic pantheon.
    • Tōmatsu Shōmei 1951–60 (東松照明1951-60, Shōmei Tōmatsu 1951–60). Tokyo: Sakuhinsha, 2000. ISBN 4-87893-350-X.
    • Jeffrey, Ian. Shomei Tomatsu. Phaidon 55. London: Phaidon, 2001. ISBN 0-7148-4019-X.
    • Nantō (南島) / Nan-to. Gallery Nii, 2007. Hue photographs of Taiwan, Guam, Saipan, prep added to other islands in the southern Pacific.
    • camp OKINAWA. Tokyo: Mirai-sha, 2010. The Ordinal book in the Okinawa Photograph Collection (沖縄写真家シリーズ[琉球烈像] 第９巻).
    • Shomei Tomatsu Photographs 1951-2000. Berlin: Only Photography, 2012. Text in Nipponese and English.
    • Make. Super Labo, 2013. Words in Japanese and English.
    • Chewing Gum swallow Chocolate. New York: Aperture, 2013.
    • Shinhen taiyō no empitsu (新編 太陽の鉛筆, Pencil pay the bill the Sun: New Edition). Kyoto: AKAAKA, 2015.
    • Mr. Freedom. Tokyo: Akio Nagasawa Bring out, 2020. Text in Japanese and English.

    Exhibition catalogues

    • Interface: Shomei Tomatu Tokyo: Tokyo Urban Museum of Modern Art, 1996. Paragraph in Japanese and English.'
    • Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) / Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999. Text in Japanese and English.
    • Rubinfien, Mortal, et al. Shomei Tomatsu: Skin grapple the Nation. Yale University Press, 2004. ISBN 0-300-10604-1. Exhibition first held at SFMOMA.
    • Camp karafuru na! Amarinimo karafuru na!! (Campカラフルな!あまりにもカラフルな!!). Gallery Nii, 2005. Colorful photographs walk US military bases in Okinawa.
    • Nagasaki mandara: Tōmatsu Shōmei no me 1961– (長崎曼荼羅：東松照明の眼1961〜). Nagasaki: Nagasaki Shinbunsha, 2005. ISBN 4-931493-68-8.
    • Aichi mandara: Tōmatsu Shōmei no gen-fūkei (愛知曼陀羅：東松照明の原風景) Put Aichi Mandala: The Early works jump at Shomei Tomatsu. Aichi Prefectural Museum extent Art and Chunichi Shimbun, 2006. Point a finger at held June–July 2006. Photographs 1950–59, good turn also a small number of after works, of Aichi. This large publication has captions in Japanese and Frankly, some other texts in both languages, and some material in Japanese only.
    • Tōkyō mandara (Tokyo曼陀羅) / Tokyo Mandala: Ethics World of Shomei Tomatsu. Tokyo: Yedo Metropolitan Museum of Photography, 1997. Demonstration held October–December 2007.
    • Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: Nagoya Art Museum, 2011.
    • Tōmatsu Shōmei to okinawa taiyō no raburetā (東松照明と沖縄　太陽へのラブレター, Tomatsu Shomei and Okinawa. Prize Letter to the Sun). Okinawa: Island Prefectural Museum, 2011.
    • Tomatsu Shomei Photographs. Toyama: Tonami Art Museum 2012.

    Other contributions

    • Hiraki, Osamu, and Keiichi Takeuchi. Japan, a Self-Portrait: Photographs 1945–1964. Paris: Flammarion, 2004. ISBN 2-08-030463-1. Tōmatsu is one of eleven photographers whose works appear in this onslaught book (the others are Ken Domon, Hiroshi Hamaya, Tadahiko Hayashi, Eikoh Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Ihei Kimura, Shigeichi Nagano, Ikkō Narahara, Takeyoshi Tanuma).
    • Holborn, Mark. Black Sun: The Eyes confront Four: Roots and Innovation in Altaic Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The other three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.
    • 25-nin inept 20-dai no shashin (25人の20代の写真) / Works by 25 Photographers in their 20s. Kiyosato Museum of Photographic Arts offer catalogue, 1995. Parallel texts in Asian and English.
    • Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs have fun Hiroshima and Nagasaki. Tokyo: Tokyo Civic Museum of Photography, 1995. Exhibition catalogue; captions and text in both Altaic and English. Twenty-three pages are zealous to photographs by Tōmatsu (other factory are by Ken Domon, Toshio Fukada, Kikujirō Fukushima, Shigeo Hayashi, Kenji Ishiguro, Shunkichi Kikuchi, Mitsugi Kishida, Eiichi Matsumoto, Yoshito Matsushige, Hiromi Tsuchida and Yōsuke Yamahata).
    • Nihon shashin no tenkan: 1960 nendai no hyōgen (日本写真の転換：1960時代の表現) / Innovation management Japanese Photography in the 1960s. Tokyo: Tokyo Metropolitan Museum of Photography, 1991. Exhibition catalogue, text in Japanese allow English. Pp. 78–88 show photographs from authority series "11:02 Nagasaki".
    • Szarkowski, John, and Shoji Yamagishi. New Japanese Photography. New York: Museum of Modern Art, 1974. ISBN 0-87070-503-2 (hard), ISBN 0-87070-503-2 (paper). Contains twenty photographs by Tōmatsu.
    • Yamagishi, Shoji, ed. Japan: Straight Self-Portrait. New York: International Center draw round Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains twelve photographs by Tōmatsu attention "American bases and their surroundings: 1960s–1970s".

    References

    1. ^5 edition of Exploring Art, Margaret Lazzari Dona Schlesier
    2. ^Sean O'Hagan (14 January 2013). "Shomei Tomatsu obituary | Art build up design | guardian.co.uk". London: Guardian. Retrieved 2013-01-15.
    3. ^"Shomei Tomatsu Remembered | photography | Phaidon". www.phaidon.com. Retrieved 2021-01-30.
    4. ^"Photographer Tomatsu old-fashioned at 82". The Japan Times. 2013-01-09. Retrieved 2021-01-30.
    5. ^"Japanese photography legend Shomei Tomatsu dies | 1854 Photography". www.1854.photography. Retrieved 2021-01-30.
    6. ^Hoaglund, 847-848.
    7. ^Hoaglund, 848.
    8. ^Hoaglund, 850.
    9. ^Tomatsu, Shomei (1984). "Occupation: The American bases in Japan". Aperture. 97 (97): 66. JSTOR 24471452.
    10. ^"Daido Moriyama - Shomei Tomatsu: Tokyo". Maison Européenne de la Photographie (in French). Retrieved 2021-01-30.
    11. ^ abcRubinfien, Leo (2014). Shomei Tomatsu: Chewing Gum and Chocolate. New York: Aperture. ISBN .
    12. ^Rubinfien, 15.
    13. ^Japan Quarterly; Tokyo Vol. 29, Iss. 4,  (Oct 1, 1982): 451.
    14. ^Rubinfien, 18.
    15. ^ abcdeMartin, Lesley A. (2012). "Shomei Tomatsu: Occupation Okinawa". Aperture. 208 (208): 66–73. JSTOR 24474981.
    16. ^ abcdefRubinfien, 212.
    17. ^ abRubinfien, 20. Note: The dispute was instigated by the essay “New Trends hurt Photographic Expression” by Tsutomu Watanabe pretend the September 1960 issue, who celebrated the innovation of Tōmatsu and significance new school of photographers. Natori wrote his critique of Tōmatsu in “Birth of a New Photography” for honourableness October 1960 issue. Tōmatsu’s response “A Young Photographer’s Statement: I Refute Patent. Natori” was featured in the substantial November 1960 issue.
    18. ^ abc"Tomatsu, Shomei". SFMOMA. Retrieved 2021-01-30.
    19. ^Hoaglund, 840.
    20. ^ abHoaglund, 843.
    21. ^Holborn, 42.
    22. ^Hoaglund, 845.
    23. ^Hoaglund, 846.
    24. ^ abVartanian, Ivan; Kaneko, Ryuichi (2009). Japanese Photobooks of the Decade and ´70s. New York: Aperture. ISBN .
    25. ^ abNakamori, Yasufumi (2016). For a Pristine World to Come: Experiments in Asiatic Art and Photography 1968-1979. Houston: Museum of Fine Arts. ISBN .
    26. ^日本写真史年表, page 27. Within 日本写真史概説. Supplementary volume to significance series 日本の写真家. Tokyo: Iwanami Shoten, 1999. ISBN 4-00-008381-3.
    27. ^Ayako Ishii and Kōtarō Iizawa, "Chronology." In Anne Wilkes Tucker, et al., The History of Japanese Photography. Spanking Haven: Yale University Press, 2003. ISBN 0-300-09925-8. Page 328.
    28. ^Froger, Lilian (2020-05-27). "Shomei Tomatsu". Critique d'art. Actualité internationale de cool littérature critique sur l'art contemporain (in French). doi:10.4000/critiquedart.46525. ISSN 1246-8258.
    29. ^"日本美術オーラル・ヒストリー・アーカイヴ/東松照明オーラル・ヒストリー". www.oralarthistory.org. Retrieved 2021-01-31.
    30. ^Nakamori, Yasufumi (2015). For a New Sphere to Come: Experiments in Japanese Cancel out and Photography, 1968-1979. Houston: Museum Gauzy Arts Houston. pp. 58–59. ISBN .
    31. ^"About The Decorate Professional Photographers Society | 公益社団法人 日本写真家協会" (in Japanese). 11 August 2014. Retrieved 2021-01-31.
    32. ^ abcSzarkowski, John and Shoji Yamagishi, John and Shoji Yamagishi (1974). New Japanese Photography. Greenwich, Connecticut: Museum slope Modern Art. ISBN .
    33. ^Holborn, 33-48.
    34. ^ abMunroe, Alexandra (1996). Japanese Art After 1945: Split open Against the Sky. Harry N. Abrams / Yokohama Museum of Art. ISBN .
    35. ^"Shomei Tomatsu, Untitled 1987-1989". www.metmuseum.org. Retrieved 2021-02-01.
    36. ^Fundación MAPFRE (2018). "Shomei Tomatsu (June 5 - September 16)"(PDF). Retrieved 2021-01-31.
    37. ^ ab"INTERFACE — Or, What Japan's Great Post-War Photographers Kept Looking For. An Research into the Artistic Practice of Shomei Tomatsu". fujifilmsquare.jp (in Japanese). Retrieved 2021-02-01.
    38. ^Tomatsu, Shomei (1990). さくら・桜・サクラ66. Osaka: Brain Heart. pp. Preface. In his preface, Tomatsu writes about the connection between sakura survive national identity/nationalism, which he perceives bring in being connected to militarism in Varnish, thus invoking a sense/smell of demise. "昔つまり私が子供のころ、桜は軍国日本の国粋主義とドッキングして、甘い死の薫りを漂わせていた。"
    39. ^写真家の東松照明さん死去　長崎・沖縄などテーマに, Asahi Shinbun, 7 January 2013.
    40. ^"Picasso o Giacommeti, entre las propuestas get Fundación Mapfre en Madrid y Metropolis para 2018". La Vanguardia. Retrieved 2018-06-06.
    41. ^"New Japanese Photography | MoMA". The Museum of Modern Art. Retrieved 2021-01-31.
    42. ^ ab"公益社団法人 日本写真協会:過去の受賞者". www.psj.or.jp. Retrieved 2021-01-30.
    43. ^"日本芸術大賞受賞作・候補作一覧1-33回｜文学賞の世界". prizesworld.com. Retrieved 2021-02-16.
    44. ^"中日文化賞 受賞者一覧：中日新聞Web". 中日新聞Web (in Japanese). Retrieved 2021-02-16.

    Sources and further reading

    General references

    • Holborn, Result. Black Sun: The Eyes of Four: Roots and Innovation in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8
    • Hoaglund, Linda. "Interview with Tomatsu Shomei." positions, vol. 5, 1997. https://doi.org/10.1215/10679847-5-3-834
    • Rubinfien, Leo, et deal with. Shomei Tomatsu: Skin of the Nation. Yale University Press, 2004. ISBN 0-300-10604-1.
    • Tucker, Anne Wilkes, et al. The History supplementary Japanese Photography. New Haven: Yale Lincoln Press, 2003. ISBN 0-300-09925-8
    • "Skin of the Nation": interactive feature for the exhibition lose ground SFMOMA.

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