Daido Moriyama
Tokyo, 2011
4002-BK
vol.23 Daido Moriyama photographs Tokyo comprises thirty-one original photographs by Daido Moriyama. The photos are arranged in sequence and varying number over a total of twelve double pages, the majority of these photos published here for the first time. Their subject, the capital city of Tokyo, is treated with the photographer’s characteristic tormented lyricism. We encounter the same recurring motifs in his work for communicating his fascination for texture: here a gaping mouth, there the luster of a car body, an illuminated sign, a muddy sidewalk… Daido Moriyama A major figure in contemporary Japanese photography, Daido Moriyama is one of the founders of the selfcalled, avantgarde movement, « Provoke”, that came to life in the 1960s. He is at the core of what emerged as a new visual language, both nervous and frantic, that delighted in the out-of-focus, the grainy and deformity in general. He has had work exhibited in one-man shows worldwide most notably at the Metropolitan Museum (NY), the San Francisco MOMA and at the Cartier Foundation for Contemporary Art in Paris. Description: Solo project (#1) 31 original photographs (gelatin silver prints) glued to paper Japanese binding 21 x 33 x 1,7 cm Limited edition of 18 copies + 5 H.C November 2011 Graphic design: Olivier Andreotti
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Daido Moriyama
Record 1-5 (re-print. ed), 2008
2302
Nagasawa Akio. signed copy
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Daido Moriyama
SOLITUDE DE L'OEIL, 2007
1835
VOL. 6 Daido Moriyama photographs Michel Bulteau text Olivier Andreotti case The six poems by Michel Bulteau are infused with the rumblings of Tokyo, poems that speak equally of its derelict side as its luster. The poet lines up specific details, fishing out odd fragments from Daido Moriyama’s photographs as he pulls us into his spectral universe, crawling with gangsters and clawed animals. Bathed in a melancholic light, the photographs share characteristics with the color work of the artist and describe a sensual and sorrowful Tokyo. The traycase takes its inspiration from the steep slopes that crown most buildings in Tokyo and its choice of material–painted plastic recalls contemporary Japanese architecture. The text follows the line drawing of a confused network of electric cables, evoking the complex urban tissue of the Japanese capital. Daido Moriyama A major figure in contemporary Japanese photography, Daido Moriyama is one of the founders of the selfcalled, avantgarde movement, « Provoke”, that came to life in the 1960s. He is at the core of what emerged as a new visual language, both nervous and frantic, that delighted in the out-of-focus, the grainy and deformity in general. He has had work exhibited in one-man shows worldwide most notably at the Metropolitan Museum (NY), the San Francisco MOMA and at the Cartier Foundation for Contemporary Art in Paris. Michel Bulteau Michel Bulteau was 21 years old when he published Le Manifeste électrique (the Electric Manifesto). In 1972 he had the decisive encounter of meeting William Burroughs and Brion Gysin in London. He settled in New York in 1976 where he soon became part of the punk movement, joining the circle around Warhol and the Beat writers. His memories of New York infuse his book, New York est une fête, brought out by the French publishers, La Différence. After returning to Paris a certain dandyism and fin-de-siècle aesthetic, which has always hovered in the background, finds its full expression in a number of books: Minuties (La Différence, 1989), L’exilé de Venise, essai sur Corvo (Le Rocher, 1990), Le club des longues moustaches (Quai Voltaire, 1988). Description: Tokyo Triptych 1/3 6 original signed photographs (chromogenic prints), mounted on cardboard Case made of painted plastic 51,7 x 42,5 x 5,2 cm Text in French and Japanese Limited edition of 40 copies May 2006 Graphic design: Olivier Andreotti
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Daido Moriyama
Memories of a Dog, 2002
2031
First Edition 1/100 Deluxe. 8vo. Cloth in Dust Jacket, Slipcased. Photography Monograph. Fine/Fine. 192pp, 73 b&w illustrations. Text in English. "Daido Moriyama is without question one of Japan's most important contemporary photographers and it is not surprising that this memoir, first published as a series of essays in Asahi Camera twenty-one years ago, is regarded as a classic in photographic literature. In "Memories of a Dog", Moriyama approaches photography through language, and it is difficult to say which is the more evocative medium. His vividly expressive prose is in perfect harmony with the grainy, black and white images that in turn have a poetry all their own. As both reader and viewer one becomes completely absorbed, and photographs that will always be remarkable are given a new, very personal, layer of meaning. This is an eloquent autobiographical account of the artist's progress through life ". Limited to one hundred copies only, this is from the deluxe slipcased edition that is numbered and BOLDLY SIGNED by Daido Moriyama in English in black marker on the title page. A pristine copy.
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Daido Moriyama
Photographer Mr. Araki, (Photogram), 1990
2097
9 1/4 x 11 1/4 in. (23.5 x 28.5 cm)
Pictured in Book Lettre A St. Loup. Vintage Black and White print
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Daido Moriyama
Stray Dog, 1984
3245-PH
11 3/4 x 9 1/2 in. (30 x 24 cm)
Vintage Print, signed and dated
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Daido Moriyama
Calender Camp, 1982
1776
19 7/8 x 28 1/4 in. (50.6 x 72 cm)
Text de Moriyama Daido. This publication, the only one Moriyama produced with the editors of Camp, provided members of the Camp collective with an opportunity to pay homage to their mentor and inspiration: Daido Moriyama.
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Daido Moriyama
Hikari to Kage (Light and Shadow), 1982
1777
8 5/8 x 11 1/2 in. (22 x 29.4 cm)
Tokyo: Toju-sha.
Full-bleed black-and-white photographic reproductions throughout. Original printed stiff French-fold wrappers with photographically illustrated dust jacket and bellyband.
Between 1979 and 1982 Moriyama stopped photographing. With Hikari to Kage he re-entered the fray. In this oblique nod to the French 19th century photographic pioneer Joseph Nicéphore Niépce, Moriyama fixes his gaze on his immediate environment, which he depicts with more realism than before. The stylistic moodiness has been replaced by simple, highly contrasted photographs of everyday scenes producing a strangely unsettling effect. Whether it is boots, a pair of jeans, a cow behind barbed wire, a fish-tank, the sky with clouds, or grass—the same sense of menace and disquiet is present.
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Daido Moriyama
Nikko, 1977
2010
11 3/4 x 7 7/8 in. (30 x 20 cm)
Vintage Silver Gelatin print. signed and noted on verso . Edition no. Unique Print in conservation museum board mount and framed in a 3/4/ black ash waxed box
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Daido Moriyama
Workshop. Nos. 1 - 8., 1974 –1976
1763
19 5/8 x 14 1/8 in. (50 x 36 cm)
Tokyo: Workshop Shashin Gakko, September 1974 –July 1976
Vols. 1 - 4: 50 x 36 cm; 19 ¾ x 14 ¼ inches; unbound broadsheet newspapers,
Vols. 5 - 8: 28.5 x 14.4 cm; 11 ¼ x 5 ¾ inches; in original stapled photo-illustrated wrappers.
Workshop was the eponymous journal of Workshop, a photography school where limited-enrollment classes were taught by a group of photographers—Araki Nobuyoshi, Shomei Tomatsu, Masahisa Fukase, Eikoh Hosoe, Daido Moriyama and Noriaki Yokosuka—beginning in April 1974. Each member of the group was given responsibility for a section of the magazine, which actively explored new trends in photography through essays and criticism (for example, the photographs in the final eighth issue are given over entirely to Seiji Kurata, and include unpublished photos plus photos that would later appear in his photobook Flash-Up). It was first issued as a tabloid on a limited subscription basis, but after the fifth issue, in October 1975, it was published as a magazine-sized photography collection. The school closed in March 1976, although the magazine continued for annual subscribers through the eighth issue in July.
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Daido Moriyama
Kagerou (Mayfly), 1972
1758
7 3/8 x 10 5/8 in. (19 x 27 cm)
Tokyo: Haga Books.
114 photographic reproductions, of which fourteen are tipped-in color plates. Original stiff wrappers, with paper-covered slipcase and printed bellyband. This copy inscribed by Daido Moriyama in black pen (in both English and Kanji)
The publication is exceptional amongst Moriyama's output as much for his seminal use of color, as for the book's eroticism. Moriyama's fourth book features nudes, the majority being bondage scenes. Having taken its title from the Japanese word for “mayfly”, the series captures fleeting and momentary scenes of females bound in Kinbaku (rope bondage). While similar in theme to much of Araki's work, the figures in these photos are removed from their context of the red-light districts of Tokyo, and Moriyama now sets the women against outdoor landscapes and leafy backgrounds. Raw and unchoreographed in their manner, the images relay a disquieting sense of anticipation throughout each scene. The images are somewhat grounded by a section in the center of the book that reproduces contact sheets showing images from the shoots.
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Daido Moriyama
Karyudo (Hunter), 1972
1759
Hardcover with authors name printed on the dust jacket. Comes with bellyband. 104 black and white photographs with a text by Tanadori Yokoo. Most of Moriyama's cult images are featured in this special monograph of the photographer's work.
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Daido Moriyama
Shashin yo Sayonara (Bye Bye Photography), 1972
1760
7 1/4 x 9 in. (18.5 x 23 cm)
Tokyo: Shashin Hyoron-sha.
137 double-page black-and-white photographs printed in rich gravure. Original wrappers, with printed dust jacket. Includes 32 pages of dialogue between photographers Takuma Nakahira and Daido Moriyama.
This is the most emblematic of Provoke photobooks, in which the aesthetic principles of the movement are best expressed. Moriyama pushes the boundaries of the medium: assembling images from a variety of sources, placing them in a discordant anti-sequence, with an array of full-page grainy, blurry, and sometimes indecipherable pictures. The images were further manipulated in the dark room, in a way that results in high contrast prints with a harsh coarse grain. This rough style became somewhat of a trademark and found wide appeal with a new Japanese generation.
Shashin yo Sayonara was produced as a result of a discussion Moriyama had with Takuma Nakahira in the Hilltop (Yamanoue) Hotel in Tokyo in August 1972. The two had been friends since 1964 and both had contributed to Provoke magazine. The argument centered on the function of photography to reflect reality.
“Shashin yo Sayonara (Bye Bye Photography) is the most extreme monument of the Provoke period, indeed it is one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility, with a brilliant barrage of stream-of-consciousness imagery culled from his own pictures, found photographs—such as shots of car accidents—and images taken from the television set. Any notion of ‘good’ technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains ... The pace is frenetic, the image bombardment never lets up, and we reach the book's end in a state either of breathless exhaustion or on an image-fuelled high.” (Parr & Badger)
[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.I, pp. 298-299; Andrew Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, pp. 218-220; Andrew Roth, The Open Book: A History of the Photographic Book from 1878 to the Present, pp. 290-291; M. Auer, 802 photo books from the M. + M. Auer collection, p. 543; Ryuichi Kaneko & Ivan Vartanian - Japanese Photobooks of the 1960s and ‘70s, p. 29]
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Daido Moriyama
Provoke 4,5, 1970
1752
Paperback with printed cover and dust jacket. The Provoke group came together for the last time, having split up in 1970, to produce these issues of Provoke magazine. Abandoning the security of the initial format, they explored new ideas around photography and language, evoking the principal revolutionary concepts evident in the first three issues.
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Daido Moriyama
On the Road, 1969
1783
Newpaper book with Silver Gelatin Print
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Daido Moriyama
Provoke 2, 1969
7191-BK
10 x 712 in. (25.4 x 1.5 cm)
Provoke 2 - Published by Provoke-sha, Tokyo on March 10, 1969 with a limitation of 1000 copies. Containing halftone reproductions of photographs by Moriyama, Nakahira, Takanashi and Taki with text by Okada. The book is bound in grey printed wrappers. The yellow bellyband is not present.
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Daido Moriyama
Nippon Gekijo Shashincho (Japan - A Photo Theatre), 1968
1749
8 1/4 x 8 5/8 in. (21 x 22 cm)
Tokyo: Muromachi-Shobo
145 black-and-white photographs printed in offset. Text by Shuji Terayama. Original green velvet wrappers, with printed cardboard slipcase. This copy inscribed by Daido Moriyama in black felt-tip pen on the front free endpaper (in English and Kanji).
Moriyama's first printed work is a milestone of Japanese photography. It was published the year after he had received the New Artist Award from the Japan Photo Critics Association for his series of images of street performers published in the monthly photography magazine Camera Mainichi. The book contains these images, mixed with street scenes and other pictures, seemingly chosen at random. The book is divided into two sections, each with introductory poems by Shuji Terayama. In the photographs, Moriyama has laid the defining cornerstone for his work that was to come in the 1970s. He is already experimenting here with the technique of “are-buro-buke”, with its hard angles, and with photographs of photographs.
“He sought the world of the hipster, the freak, the “other”, from the avant-garde Terayama theatre group, which featured nude women, dwarfs, and burlesque characters of all kinds, to the more vernacular nightlife of the city, the strip joints, gangster bars, and backstreet Kabuki theatres, a fusion of the old and new, high and low, insider and outsider, freak and non-freak.” (Parr & Badger).
These photographs of Kabuki performances and other actors are mixed with snapshots of ordinary people: office workers become featureless components in the artificial glare of fluorescent lights and synthetic surfaces; or with photographs of embryos in test tubes printed at the end of the book. By combining these disparate subjects, Moriyama draws attention to the process by which a subject becomes a photograph, and how the act of photography is a theatrical event itself.
[Ref. Martin Parr & Gerry Badger, The Photobook: A History vol.I, p. 288; Ryuichi Kaneko & Ivan Vartanian, Japanese Photobooks of the 1960s and '70s, pp. 116-123]
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Daido Moriyama
Nippon Gekijo Shashincho (Japan A Photo Theater), 1968
2185
8 1/4 x 8 5/8 in. (21 x 22 cm)
Paperback, title printed on the green cover, in its original cardboard slipcase. 149 black and white photographs printed using the heliogravure method. Text by Shuji Terayama. This is the first publication entirely devoted to Moriyama's work. Images are violent and dark. Deeply influenced by William Klein's New York, Moriyama transforms texture, contrast, deformation, the accidental, and abstraction into a visual language representative of the Provoke movement in Japan.
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