Tomatsu shomei biography of barack

Shōmei Tōmatsu

Japanese photographer

Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, January 16, 1930 – December 14, 2012)[1] was a Asiatic photographer.[2] He is known principally for his images that interpret the impact of World Contest II on Japan and blue blood the gentry subsequent occupation of U.S. shoring up. As one of the surpass postwar photographers, Tōmatsu is attributed with influencing the younger generations of photographers including those connected with the magazine Provoke (Takuma Nakahira and Daido Moriyama).[3][4][5]

Biography

Youth

Tōmatsu was born in Nagoya in 1930. As an adolescent during Cosmos War II, he was mobilized to support Japan's war cause. Like many Japanese students authority age, he was sent extract work at a steel workroom and underwent incessant conditioning spontaneous to instill fear and dislike towards the British and Americans.[6] Once the war ended president Allied troops took over plentiful Japanese cities, Tōmatsu interacted fellow worker Americans firsthand and found depart his preconceptions of them were not entirely salient. At description time Tōmatsu's contempt for say publicly violence and crimes committed wedge these soldiers was complicated lump individual acts of kindness blooper received from them – smartness simultaneously loved and hated their presence.[7] These interactions, which good taste later described as among justness most formative memories of wreath childhood,[8] initiated his long-standing object on and feelings of indecisiveness towards the subject of Indweller soldiers.[9]

Early career (1950s)

Tōmatsu embraced film making while an economics student at Aichi University. While still in doctrine, his photographs were shown oftentimes in monthly amateur competitions spawn Camera magazine and received acceptance from Ihei Kimura and Subjugated Domon.[10][11] After graduating in 1954, he joined Iwanami Shashin Hustle, through an introduction made because of Aichi University professor Mataroku Kumaza.[12] Tōmatsu contributed photographs to dignity issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed weightiness Iwanami for two years formerly leaving to pursue freelance work.[13]

In 1957, Tōmatsu participated in depiction exhibition Eyes of Ten wheel he displayed his series Barde Children’s School; he was featured in the exhibit twice other when it was held reread in 1958 and 1959.[14] Provision his third showing, Tōmatsu ingrained the short-lived photography collective VIVO with fellow Eyes of Ten exhibitors; these other members categorized Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.

Towards the end detailed the 1950s, Tōmatsu began photographing Japanese towns with major Earth bases, a project that would span over 10 years.[15]

1960s

Tōmatsu's discriminating output and renown grew drastically during the 1960s, exemplified toddler his prolific engagements with haunt prominent Japanese photography magazines. Sand began the decade by business his images of U.S. bases in the magazines Asahi Camera and Camera Mainichi and top series Home in Photo Art.[16] In contrast to his before style which resembled traditional photojournalism, Tōmatsu was beginning to rally a highly expressionistic form go image taking that emphasized honourableness photographer's own subjectivity. In agree to this emergence, a problem arose when Iwanami Shashin Flimflam founder Yonosuke Natori wrote ditch Tōmatsu had betrayed his construction as a photojournalist by neglecting the responsibility to present point in a truthful and clear manner.[17] He rejected the champion that he was ever regular photojournalist, and admonished journalistic significance as an impediment to photography.[17][18] Both essays were published connect Asahi Camera. In addition cross-reference Asahi Camera and Photo Art, Tōmatsu worked for magazines Gendai no me and Camera Mainichi. For Gendai no me, stylishness edited a monthly series coroneted I am King (1964); sustenance Camera Mainichi, he printed manifold collaborations made with Yasuhiro Ishimoto and Shigeichi Nagano in 1965 and his own series, The Sea Around Us in 1966.[16]

Nagasaki

In 1960, Tōmatsu was commissioned transmit photograph Nagasaki by the Nihon Council against Atomic and h Bombs (原水爆禁止日本協議会, abbrev. Gensuikyō), afterwards the conference determined that chart images were necessary to exhibit international audiences the effects stencil the atomic bomb.[19] The closest year, Tōmatsu was guided about Nagasaki, having the opportunity nurture speak with and photograph dupes of the atomic bomb, further known as hibakusha.[20] Like multitudinous Japanese people at the disgust, Tōmatsu had only cursory road about the devastation. He morsel that the shock of ethics hibakusha's appearance initially made photographing them extremely difficult.[20] Tōmatsu's appearances of Nagasaki and its hibakusha were joined with Ken Domon's photographs of Hiroshima to fabricate Tōmatsu's first critically acclaimed seamless Hiroshima, Nagasaki, Document, 1961. Hold the same year, Tōmatsu was named Photographer of the Epoch by the Japan Photo Critics Association.

The subject of a- recovering Nagasaki and its hibakusha were revisited at various statistics in Tōmatsu's career. He joint to Nagasaki on numerous occasions and released the book <11:02> Nagasaki in 1966.[21] In more than ever interview with Linda Hoaglund perch in the revised introduction fit in his book <11:02> Nagasaki, significant spoke on the greater heed paid in this second accurate towards the impact of position atomic bomb on the Expanded community in Nagasaki, which much differed from the hibakusha persuasively Hiroshima.[22] His interest in Nagasaki's Catholic history was one cut in his investigation of Nagasaki's development into a 20th-century city.[23] Tōmatsu would move to Metropolis in 1988.

Shaken

After Tōmatsu's firm Shashin Dōjinsha folded and <11:02> Nagasaki encountered unexpectedly poor garage sale, Tomatsu founded his own notification company Shaken in 1967.[24] Because of Shaken, Tōmatsu published Nippon (1967), a collection of images unearth ten series that was firstly meant to be split get on to three individual books;[24]Assalamu Alaykum (1968), images taken from his 1963 trip in Afghanistan; and Oh! Shinjuku (1969), a mix appreciate scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh thespian Hijikata Ankoku, and large ratio student protests against the Annam War held by Zengakuren.

With his publishing company, Tōmatsu besides conceived the cultural magazine KEN. Each of the three issues was edited by a divergent artist: the first, second, celebrated third edited by Yoshio Sawano, Masatoshi Naitō, and Tsunehisa Kimura respectively. KEN addressed concerns be in charge of a growing fascist tendency grind Japan and expressed criticisms nearly the 1970 World Fair booked in Osaka.[25] Essays, both textual and visual, were contributed exceed Provoke members and other attention-grabbing Japanese photographers including Masahisa Fukase and Kazuo Kitai.[25]

A Century disbursement Photography exhibition

Tōmatsu's early efforts with respect to promote photography in his living quarters country, such as the arrange of VIVO or his effort as a professor at Tama Art Academy (1965) and Yeddo Zokei University (1966–1973),[16] led collect his role as an circus organizer for the influential sham, 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: Organized Historical Exhibition of Photographic Verbalization by the Japanese). The circus was part of an resourcefulness by the Japan Professional Photographers Society to construct a life of Japanese photography for picture first time.[18] It was co-organized with Takuma Nakahira and Kōji Taki and held at leadership Seibu department store in Ikebukuro in June.[18][26][27]

1970s

Okinawa

Tōmatsu first went be selected for Okinawa to photograph the Inhabitant bases under the auspices get ahead Asahi Camera in 1969.[15] Primacy images he captured formed position book Okinawa, Okinawa Okinawa which served as an explicit judge of the American air force.[15] On the cover, an anti-base slogan verbalizing his disdain catch on the overwhelming U.S. presence value 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; Campaign is in the bases).[11] That sentiment was foreshadowed in Tōmatsu's earlier writings, like his 1964 essay for Camera Manichi alternative route which he stated "it would not be strange to shout [Japan] the State of Embellish in the United States short vacation America. That's how far U.s. has penetrated inside Japan, degree deeply it has plumbed travelling fair daily lives."[11]

Tōmatsu visited Okinawa iii more times before finally mobile to Naha in 1972. Like chalk and cheese in Okinawa, he travelled theorist various remote islands including Iriomote and Hateruma;[28] he spent septet months on Miyakojima where lighten up organized a study group hollered “Miyako University” aimed at mentoring young Miyako residents.[29] Combined succumb his images taken in Southeasterly Asia, Tōmatsu's photographs of Campaign from the 1970s were shown in his prizewinning Pencil dig up the Sun (1975). Although be active had come to Okinawa tidy order to witness its resurface to Japanese territory, Pencil friendly the Sun revealed a ponderous consequential shift away from the question of military bases that noteworthy pursued throughout 1960s.[15] He credited a diminishing interest in grandeur American armed forces, in stop working to the allure of Okinawa's brilliantly colored landscapes, for ruler adoption of color photography.[15]

Return enrol mainland

In 1974, Tōmatsu returned run on Tokyo where he set go through Workshop Photo School, an variant two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the image magazine Workshop.[30] Tomatsu's dedication make somebody's day nurturing the photography community steadily Japan was also evidenced esteem his role as a panellist for the Southern Japan Cinematography Exhibition and his membership make a way into the Photographic Society of Japan's committee to create a stable museum of photography.[16] The efforts of this group led cause problems the establishment of photography departments at major national museums, specified as Yokohama Museum of Crucial point and the National Museum pan Modern Art, Tokyo, as vigorous as the first photography museum in Japan, Tokyo Photographic Guarantee Museum.[31]

Tōmatsu took part in realm first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop helpers Hosoe, Moriyama, Fukase, and 11 other photographers. New Japanese Photography was the first survey ticking off contemporary Japanese photographers undertaken unreachable of Japan.[32] It traveled transmit eight other locations in influence United States including the Denver Art Museum, San Francisco Museum of Art, and Portland View Museum.

By 1980, Tōmatsu publicised three more books: Scarlet Brindled Flower (1976) and The Sunny Wind (1979) were composed reproach his images from Okinawa; fairy story Kingdom of Mud (1978) featured his Afghanistan series printed sooner in Assalamu Alaykum.

Late activity (1980s and 1990s)

In the completely 1980s, Tomatsu had his prime international solo exhibition, Shomei Tomatsu: Japan 1952-1981 shown at 30 venues over three years.[16] Explicit was also included in tough international group exhibitions regarding Altaic art: in 1985, he was one of the main artists in Black Sun: The Contented of Four first shown adventure the Museum of Modern Preparation, Oxford;[33] in 1994, he was featured in the seminal expose Japanese Art After 1945: Yowl Against the Sky[34] at birth Yokohama Museum of Art, Philanthropist Museum and San Francisco Museum of Modern Art.

Sakura + Plastics

Due to existing heart lean on, Tōmatsu received heart bypass remedy in 1986 and moved bear out Chiba as part of diadem recovery.[35] [36] While in Chiba, put your feet up roamed the beaches near reward home and photographed the trash that washed up onto touch on the black sand shores; grandeur resulting photo series was gentle Plastics. Around the same securely, he developed his Sakura playoff which first featured in Asahi Camera (1983) then released although the book Sakura Sakura Sakura (1990).[16] Tomatsu notes how sovereignty surgery shifted his interest limit the question of survival good turn mortality,[37] with Plastics[37] and Sakura[38] demonstrating his increasingly allusive advance towards these themes.

In 1992, the series was shown assortment in Sakura + Plastics sought-after the Metropolitan Museum of Detach, making it the museum's gain victory solo exhibition for a landdwelling Japanese artist.

Final years (2000–2012)

In the last decade of dominion career, Tōmatsu embarked on well-organized new and comprehensive series disbursement retrospectives, dividing his oeuvre affect five "mandalas" of place. Coach mandala was named after blue blood the gentry area it was exhibited: City Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Case in point Museum, 2002); Kyoto Mandala (Kyoto National Museum of Modern Thought, 2003); Aichi Mandala (Aichi Prefectural Museum of Art, 2006); subject Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)

Tōmatsu additionally had a separate retrospective, Shomei Tomatsu: Skin of the Nation, for the international museum boundary. Skin of the Nation was organized by the San Francisco Museum of Modern Art, spreadsheet curated by Sandra S. Phillips and the photographer and essayist Leo Rubinfien. The exhibition toured three countries and five venues from 2004 through 2006: Glaze Society (New York); National Drift of Canada, Corcoran Museum friendly Art, San Francisco Museum strain Modern Art, and Fotomuseum Winterthur.

In 2010 Tōmatsu moved withstand Okinawa permanently, where he engaged the final exhibition during culminate lifetime, Tomatsu Shomei and Island - Love Letter to depiction Sun (2011). He succumbed weather pneumonia on 14 December 2012 (although this was not undeceiving announced until January 2013).[39]

Selected exhibitions

Solo exhibitions

  • What Now!?: Japan through loftiness 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 Art, 1992
  • Traces: Fifty Eld of Tōmatsu's Work, Tokyo Civic Museum, 1999
  • Mandala Retrospectives (2000-2007)
  • Shomei Tomatsu: Skin of the Nation (2004–2006), Japan Society, New Dynasty (September 2004 – January 2005), National Gallery of Canada, Algonquian (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, Metropolis, June–September 2018.[40] The first Tomatsu retrospective in Spain.

Group exhibitions

  • Eyes bear out Ten, Konishiroku Photo Gallery, Tokio 1957, 1958, 1959.
  • New Japanese Photography, Museum of Modern Art, Contemporary York, March–May 1974[41] Denver Become aware of Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Seep Museum; University of Illinois resort to Urbana-Champaign; San Francisco Museum carefulness Modern Art; Seattle Art Museum; Portland Art Museum
  • Black Sun: Glory Eyes of Four, Museum chivalrous Modern Art, Oxford, 1985. Traveled to Serpentine Gallery, London; Institution of Iowa Museum of Art; Japan House Gallery, New York; Museum of Contemporary Art, Los Angeles; Baltimore Museum of Art.
  • Japanese Art After 1945: Scream Demolish the Sky (1994),[34] Yokohama Museum of Art, Guggenheim Museum; San Francisco Museum of
  • Island Life,Art College of Chicago, Chicago, IL, Sep 2013 – January 2014

Awards

Books exert a pull on Tōmatsu's works

Books by Tōmatsu duct compilations of his works

  • Suigai find time for nihonjin (水害と日本人, Floods and nobleness Japanese). Iwanami Shashin Bunko 124. Tokyo: Iwanami Shoten, 1954. Closure work. The photographs are reproduced within Aichi Mandala (2006).
  • Yakimono rebuff machi: Seto (焼き物の町：瀬戸, Pottery town: Seto). Iwanami Shashin Bunko Clxv. Tokyo: Iwanami Shoten, 1955. Significance photographs are reproduced within Aichi Mandala (2006).
  • Hiroshima–Nagasaki Document 1961. Tokyo: Japan Council against A- trip 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: Upset, 1969.
  • Okinawa Okinawa 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, Pencil 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, Native land of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English and Altaic. A reworking of the substance published earlier in Sarāmu areikomu.
  • Hikaru kaze (光る風：沖縄, Sparkling Winds: Okinawa). Nihon no Bi. Tokyo: Shūeisha, 1979. Text in Japanese. Nifty large-format (37 cm high) book consume color photographs of Okinawa. Far-out supplementary colophon gives publication trivia in English (including the solitary mention of the English title), but all the explanations ray other texts are in Asian only.
  • Shōwa shashin: Zenshigoto 15: Tōmatsu Shōmei (昭和写真・全仕事：東松照明). Tokyo: Asahi Shinbunsha, 1984. One in a keep fit of books of which encroachment is devoted to the comprehensive career of a single photographer.
  • Shomei Tomatsu, Japan 1952–1981. Graz: Issue Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984. ISBN 3-900508-04-6. In European 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 Center, 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. Color 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 of plastic goods washed display by the 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 bid 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. Marvellous compact overview of Tōmatsu's pursuit, within a series about leadership 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. Color photographs of Taiwan, Guam, Saipan, impressive other islands in the meridional Pacific.
  • camp OKINAWA. Tokyo: Mirai-sha, 2010. The 9th book in prestige Okinawa Photograph Series (沖縄写真家シリーズ[琉球烈像] 第９巻).
  • Shomei Tomatsu Photographs 1951-2000. Berlin: Nonpareil Photography, 2012. Text in Asiatic and English.
  • Make. Super Labo, 2013. Text in Japanese and English.
  • Chewing Gum and Chocolate. New York: Aperture, 2013.
  • Shinhen taiyō no empitsu (新編 太陽の鉛筆, Pencil of class Sun: New Edition). Kyoto: AKAAKA, 2015.
  • Mr. Freedom. Tokyo: Akio Nagasawa Publishing, 2020. Text in Altaic and English.

Exhibition catalogues

  • Interface: Shomei Tomatu Tokyo: Tokyo Metropolitan Museum exert a pull on Modern Art, 1996. Text complicated Japanese and English.'
  • Nihon rettō kuronikuru: Tōmatsu no 50-nen (日本列島クロンクル：東末の50年) Curriculum vitae Traces: 50 years of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum of Photography, 1999. Text be glad about Japanese and English.
  • Rubinfien, Leo, flatter al. Shomei Tomatsu: Skin advice the Nation. Yale University Contain, 2004. ISBN 0-300-10604-1. Exhibition first reserved 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 around Foreboding 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 thumb gen-fūkei (愛知曼陀羅：東松照明の原風景) / Aichi Mandala: The Early works of Shomei Tomatsu. Aichi Prefectural Museum elaborate Art and Chunichi Shimbun, 2006. Exhibition held June–July 2006. Photographs 1950–59, and also a mignonne number of later works, ad infinitum Aichi. This large book has captions in Japanese and Candidly, some other texts in both languages, and some material crucial Japanese only.
  • Tōkyō mandara (Tokyo曼陀羅) In confidence Tokyo Mandala: The World do paperwork Shomei Tomatsu. Tokyo: Tokyo Inner-city Museum of Photography, 1997. Show held October–December 2007.
  • Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: Nagoya Craft Museum, 2011.
  • Tōmatsu Shōmei to campaign taiyō no raburetā (東松照明と沖縄　太陽へのラブレター, Tomatsu Shomei and Okinawa. Love Slay to the Sun). Okinawa: Campaign 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 that large book (the others responsibility 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 Content of Four: Roots and Oddity in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8. The further three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.
  • 25-nin rebuff 20-dai no shashin (25人の20代の写真) Chronicle Works by 25 Photographers meticulous their 20s. Kiyosato Museum asset Photographic Arts exhibition catalogue, 1995. Parallel texts in Japanese captivated English.
  • Kaku: Hangenki (核：半減期) / The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Metropolitan Museum of Picture making, 1995. Exhibition catalogue; captions extremity text in both Japanese put forward English. Twenty-three pages are loyal to photographs by Tōmatsu (other works 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) Height Innovation in Japanese Photography coach in the 1960s. Tokyo: Tokyo Municipal Museum of Photography, 1991. Sundrenched catalogue, text in Japanese additional English. Pp. 78–88 show photographs do too much the series "11:02 Nagasaki".
  • Szarkowski, Convenience, and Shoji Yamagishi. New Nipponese Photography. New York: Museum chide Modern Art, 1974. ISBN 0-87070-503-2 (hard), ISBN 0-87070-503-2 (paper). Contains twenty photographs by Tōmatsu.
  • Yamagishi, Shoji, ed. Japan: A Self-Portrait. New York: Universal Center of Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains 12 photographs by Tōmatsu of "American bases and their surroundings: 1960s–1970s".

References

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  17. ^ abRubinfien, 20. Note: The problem was instigated by the article “New Trends in Photographic Expression” by Tsutomu Watanabe in integrity September 1960 issue, who classic the innovation of Tōmatsu unacceptable the new school of photographers. Natori wrote his critique show evidence of Tōmatsu in “Birth of excellent New Photography” for the Oct 1960 issue. Tōmatsu’s response “A Young Photographer’s Statement: I Renounce Mr. Natori” was featured clear the subsequent November 1960 issue.
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  33. ^Holborn, 33-48.
  34. ^ abMunroe, Alexandra (1996). Japanese Art Pinpoint 1945: Scream Against the Sky. Harry N. Abrams / Port Museum of Art. ISBN .
  35. ^"Shomei Tomatsu, Untitled 1987-1989". . 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 Restricted Looking For. An Inquiry blocking the Artistic Practice of Shomei Tomatsu". (in Japanese). Retrieved 2021-02-01.
  38. ^Tomatsu, Shomei (1990). さくら・桜・サクラ66. Osaka: Brain Center. pp. Preface. In crown preface, Tomatsu writes about high-mindedness connection between sakura and strong identity/nationalism, which he perceives makeover being connected to militarism crate Japan, thus invoking a sense/smell of death. "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 de Fundación Mapfre en Madrid y City 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". . 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". . 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, Mark. Black Sun: The Pleased of Four: Roots and Novelty in Japanese Photography. New York: Aperture, 1986. ISBN 0-89381-185-8
  • Hoaglund, Linda. "Interview with Tomatsu Shomei." positions, vol. 5, 1997.
  • Rubinfien, Leo, ingot al. Shomei Tomatsu: Skin get on to the Nation. Yale University Contain, 2004. ISBN 0-300-10604-1.
  • Tucker, Anne Wilkes, blatant al. The History of Asiatic Photography. New Haven: Yale Formation Press, 2003. ISBN 0-300-09925-8
  • "Skin of say publicly Nation": interactive feature for birth exhibition at SFMOMA.