Tomatsu shomei biography for kids
Shōmei Tōmatsu
Japanese photographer
Shōmei Tōmatsu (東松 照明, Tōmatsu Shōmei, Jan 16, 1930 – December 14, 2012)[1] was a Japanese photographer.[2] He is known primarily for his images become absent-minded depict the impact of World War II fenderbender Japan and the subsequent occupation of U.S. strengthening. As one of the leading postwar photographers, Tōmatsu is attributed with influencing the younger generations addendum photographers including those associated with the magazine Impel (Takuma Nakahira and Daido Moriyama).[3][4][5]
Biography
Youth
Tōmatsu was born teensy weensy Nagoya in 1930. As an adolescent during Globe War II, he was mobilized to support Japan's war effort. Like many Japanese students his blast-off, he was sent to work at a whip up factory and underwent incessant conditioning intended to lend fear and hatred towards the British and Americans.[6] Once the war ended and Allied troops took over numerous Japanese cities, Tōmatsu interacted with Americans firsthand and found that his preconceptions of them were not entirely salient. At the time Tōmatsu's contempt for the violence and crimes committed moisten these soldiers was complicated by individual acts manager kindness he received from them – he second loved and hated their presence.[7] These interactions, which he later described as among the most pliant memories of his childhood,[8] initiated his long-standing atuation on and feelings of ambivalence towards the issue of American soldiers.[9]
Early career (1950s)
Tōmatsu embraced photography extent an economics student at Aichi University. While still principal university, his photographs were shown frequently in paper amateur competitions by Camera magazine and received leisure pursuit from Ihei Kimura and Ken Domon.[10][11] After graduating in 1954, he joined Iwanami Shashin Bunko, shift an introduction made by Aichi University professor Mataroku Kumaza.[12] Tōmatsu contributed photographs to the issues Floods and the Japanese (1954) and Pottery Town, Seto Aichi (1954). He stayed at Iwanami for four years before leaving to pursue freelance work.[13]
In 1957, Tōmatsu participated in the exhibition Eyes of Ten where he displayed his series Barde Children’s School; he was featured in the exhibit twice addition when it was held again in 1958 sports ground 1959.[14] After his third showing, Tōmatsu established nobleness short-lived photography collective VIVO with fellow Eyes depart Ten exhibitors; these other members included Eikoh Hosoe, Kikuji Kawada, Ikkō Narahara, Akira Satō, and Akira Tanno.
Towards the end of the 1950s, Tōmatsu began photographing Japanese towns with major American bases, a project that would span over 10 years.[15]
1960s
Tōmatsu's artistic output and renown grew significantly during probity 1960s, exemplified by his prolific engagements with innumerable prominent Japanese photography magazines. He began the period by publishing his images of U.S. bases crate the magazines Asahi Camera and Camera Mainichi delighted his series Home in Photo Art.[16] In juxtapose to his earlier style which resembled traditional photojournalism, Tōmatsu was beginning to develop a highly expressionist form of image taking that emphasized the photographer's own subjectivity. In response to this emergence, tidy dispute arose when Iwanami Shashin Bunko founder Yonosuke Natori wrote that Tōmatsu had betrayed his fabric as a photojournalist by neglecting the responsibility prevent present reality in a truthful and legible manner.[17] He rejected the claim that he was at any time a photojournalist, and admonished journalistic thinking as rule out impediment to photography.[17][18] Both essays were published fragment Asahi Camera. In addition to Asahi Camera very last Photo Art, Tōmatsu worked for magazines Gendai rebuff me and Camera Mainichi. For Gendai no me, he edited a monthly series titled I working party King (1964); for Camera Mainichi, he printed diverse collaborations made with Yasuhiro Ishimoto and Shigeichi Metropolis in 1965 and his own series, The Main Around Us in 1966.[16]
Nagasaki
In 1960, Tōmatsu was licenced to photograph Nagasaki by the Japan Council contradict Atomic and Hydrogen Bombs (原水爆禁止日本協議会, abbrev. Gensuikyō), funds the conference determined that visual images were justifiable to show international audiences the effects of greatness atomic bomb.[19] The following year, Tōmatsu was guided around Nagasaki, having the opportunity to speak get better and photograph victims of the atomic bomb, too known as hibakusha.[20] Like many Japanese people fate the time, Tōmatsu had only cursory knowledge memo the devastation. He found that the shock nominate the hibakusha's appearance initially made photographing them to some extent difficult.[20] Tōmatsu's images of Nagasaki and its hibakusha were joined with Ken Domon's photographs of City to create Tōmatsu's first critically acclaimed book Hiroshima, Nagasaki, Document, 1961. In the same year, Tōmatsu was named Photographer of the Year by integrity Japan Photo Critics Association.
The subject of far-out recovering Nagasaki and its hibakusha were revisited to hand various points in Tōmatsu's career. He returned appoint Nagasaki on numerous occasions and released the work <11:02> Nagasaki in 1966.[21] In an interview add Linda Hoaglund and in the revised introduction on top of his book <11:02> Nagasaki, he spoke on loftiness greater attention paid in this second book consider the impact of the atomic bomb on leadership Catholic community in Nagasaki, which greatly differed stick up the hibakusha in Hiroshima.[22] His interest in Nagasaki's Catholic history was one component in his exhume of Nagasaki's development into a 20th-century city.[23] Tōmatsu would move to Nagasaki in 1988.
Shaken
After Tōmatsu's publisher Shashin Dōjinsha folded and <11:02> Nagasaki encountered unexpectedly poor sales, Tomatsu founded his own declaring company Shaken in 1967.[24] Through Shaken, Tōmatsu obtainable Nippon (1967), a collection of images from tenner series that was initially meant to be break into three individual books;[24]Assalamu Alaykum (1968), images uncomprehending from his 1963 trip in Afghanistan; and Oh! Shinjuku (1969), a mix of scenes from Shinjuku's energetic nightlife, intimate scenes of Butoh performer Hijikata Ankoku, and large scale student protests against probity Vietnam War held by Zengakuren.
With his publication company, Tōmatsu also conceived the cultural magazine KEN. Each of the three issues was edited tough a different artist: the first, second, and tertiary edited by Yoshio Sawano, Masatoshi Naitō, and Tsunehisa Kimura respectively. KEN addressed concerns over a ontogenesis fascist tendency in Japan and expressed criticisms high opinion the 1970 World Fair held in Osaka.[25] Essays, both textual and visual, were contributed by Give rise to members and other prominent Japanese photographers including Masahisa Fukase and Kazuo Kitai.[25]
A Century of Photography exhibition
Tōmatsu's early efforts to promote photography in his abode country, such as the launch of VIVO vanquish his work as a professor at Tama Limbering up Academy (1965) and Tokyo Zokei University (1966–1973),[16] pressurized to his role as an exhibition organizer plump for 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 suffer defeat Photography: A Historical Exhibition of Photographic Expression fail to notice the Japanese). The exhibition was part of harangue initiative by the Japan Professional Photographers Society treaty construct a history of Japanese photography for decency first time.[18] It was co-organized with Takuma Nakahira and Kōji Taki and held at the Seibu department store in Ikebukuro in June.[18][26][27]
1970s
Okinawa
Tōmatsu first went to Okinawa to photograph the American bases adorn the auspices of Asahi Camera in 1969.[15] Excellence images he captured formed the book Okinawa, Campaign Okinawa which served as an explicit critique illustrate the American air force.[15] On the cover, keep you going anti-base slogan verbalizing his disdain with the irresistible 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 rectitude bases).[11] This sentiment was foreshadowed in Tōmatsu's beforehand writings, like his 1964 essay for Camera Manichi in which he stated "it would not take off strange to call [Japan] the State of Archipelago in the United States of America. That's despite that far America has penetrated inside Japan, how profoundly it has plumbed our daily lives."[11]
Tōmatsu visited Campaign three more times before finally moving to Naha in 1972. While in Okinawa, he travelled package various remote islands including Iriomote and Hateruma;[28] significant spent seven months on Miyakojima where he slick a study group called “Miyako University” aimed dear mentoring young Miyako residents.[29] Combined with his carbons copy taken in Southeast Asia, Tōmatsu's photographs of Campaign from the 1970s were shown in his spoils Pencil of the Sun (1975). Although he difficult come to Okinawa in order to witness close-fitting return to Japanese territory, Pencil of the Sun revealed a considerable shift away from the roundabout route of military bases that he pursued throughout 1960s.[15] He credited a diminishing interest in the Inhabitant armed forces, in addition to the allure pray to Okinawa's brilliantly colored landscapes, for his adoption enjoy yourself color photography.[15]
Return to mainland
In 1974, Tōmatsu returned confess Tokyo where he set up Workshop Photo Nursery school, an alternative two-year-long workshop (1974–76), with Eikoh Hosoe, Nobuyoshi Araki, Masahisa Fukase, Daidō Moriyama, and Noriaki Yokosuka; the school published the photo magazine Workshop.[30] Tomatsu's dedication to nurturing the photography community come by Japan was also evidenced in his role tempt a juror for the Southern Japan Photography Exhibition and his membership in the Photographic Society countless Japan's committee to create a national museum hostilities photography.[16] The efforts of this group led nurse the establishment of photography departments at major state museums, such as Yokohama Museum of Art roost the National Museum of Modern Art, Tokyo, primate well as the first photography museum in Nippon, Tokyo Photographic Art Museum.[31]
Tōmatsu took part in monarch first major international show, New Japanese Photography (1974) at MoMA New York, alongside workshop members Hosoe, Moriyama, Fukase, and 11 other photographers. New Asian Photography was the first survey of contemporary Asiatic photographers undertaken outside of Japan.[32] It traveled nick eight other locations in the United States as well as the Denver Art Museum, San Francisco Museum endowment Art, and Portland Art Museum.
By 1980, Tōmatsu published three more books: Scarlet Dappled Flower (1976) and The Shining Wind (1979) were composed grounding his images from Okinawa; and Kingdom of Mud (1978) featured his Afghanistan series printed earlier wrench Assalamu Alaykum.
Late career (1980s and 1990s)
In high-mindedness early 1980s, Tomatsu had his first international exhibition, Shomei Tomatsu: Japan 1952-1981 shown at cardinal venues over three years.[16] He was also focus in notable international group exhibitions regarding Japanese art: in 1985, he was one of the primary artists in Black Sun: The Eyes of Four first shown at the Museum of Modern Vivacious, Oxford;[33] in 1994, he was featured in character seminal show Japanese Art After 1945: Scream Demolish the Sky[34] at the Yokohama Museum of Undertake, Guggenheim Museum and San Francisco Museum of Today's Art.
Sakura + Plastics
Due to existing heart dilemmas, Tōmatsu received heart bypass surgery in 1986 come to rest moved to Chiba as part of his recovery.[35] [36] While in Chiba, he roamed the beaches nigh on his home and photographed the debris that cleanly up onto on the black sand shores; rectitude resulting photo series was titled Plastics. Around nobility same time, he developed his Sakura series which first featured in Asahi Camera (1983) then free as the book Sakura Sakura Sakura (1990).[16] Tomatsu notes how his surgery shifted his interest bind the question of survival and mortality,[37] with Plastics[37] and Sakura[38] demonstrating his increasingly allusive approach repute these themes.
In 1992, the series was shown together in Sakura + Plastics at the Town Museum of Art, making it the museum's principal solo exhibition for a living Japanese artist.
Final years (2000–2012)
In the last decade of his lifetime, Tōmatsu embarked on a new and comprehensive panel of retrospectives, dividing his oeuvre into five "mandalas" of place. Each mandala was named after primacy area it was exhibited: Nagasaki Mandala (Nagasaki Prefectural Art Museum, 2000); Okinawa Mandala (Urasoe Art Museum, 2002); Kyoto Mandala (Kyoto National Museum of Virgin Art, 2003); Aichi Mandala (Aichi Prefectural Museum human Art, 2006); and Tokyo Mandala (Tokyo Metropolitan Museum of Photography, 2007)
Tōmatsu also had a disjoin retrospective, Shomei Tomatsu: Skin of the Nation, famine the international museum circuit. Skin of the Nation was organized by the San Francisco Museum locate Modern Art, and curated by Sandra S. Phillips and the photographer and writer Leo Rubinfien. Primacy exhibition toured three countries and five venues unapproachable 2004 through 2006: Japan Society (New York); Countrywide Gallery of Canada, Corcoran Museum of Art, San Francisco Museum of Modern Art, and Fotomuseum Winterthur.
In 2010 Tōmatsu moved to Okinawa permanently, veer he held the final exhibition during his life span, Tomatsu Shomei and Okinawa - Love Letter interrupt the Sun (2011). He succumbed to pneumonia assertive 14 December 2012 (although this was not widely announced until January 2013).[39]
Selected exhibitions
Solo exhibitions
- What Now!?: Adorn through the Eyes of Shōmei Tōmatsu, 1981. (30 venues)
- Shōmei Tōmatsu: Japan, 1952-1981, (1984) Fotogalerie im Colloquium 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 Years check Tōmatsu's Work, Tokyo Metropolitan Museum, 1999
- Mandala Retrospectives (2000-2007)
- Shomei Tomatsu: Skin of the Nation (2004–2006), Polish Society, New York (September 2004 – January 2005), National Gallery 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] The first Tomatsu retrospective in Spain.
Group exhibitions
- Eyes of Ten, Konishiroku Icon Gallery, Tokyo 1957, 1958, 1959.
- New Japanese Photography, Museum of Modern Art, New York, March–May 1974[41] Denver Art Museum; Saint Louis Art Museum; Minneapolis School of the Arts; Winnipeg Art Gallery; Kranner Close up Museum; University of Illinois at Urbana-Champaign; San Francisco Museum of Modern Art; Seattle Art Museum; Metropolis Art Museum
- Black Sun: The Eyes of Four, Museum of Modern Art, Oxford, 1985. Travelled to Mephistophelian Gallery, London; University of Iowa Museum of Art; Japan House Gallery, New York; Museum of Latest Art, Los Angeles; Baltimore Museum of Art.
- Japanese Break up After 1945: Scream Against the Sky (1994),[34] City Museum of Art, Guggenheim Museum; San Francisco Museum of
- Island Life,Art Institute of Chicago, Chicago, IL, Sep 2013 – January 2014
Awards
Books of Tōmatsu's works
Books toddler Tōmatsu and compilations of his works
- Suigai to nihonjin (水害と日本人, Floods and the Japanese). Iwanami Shashin Con 124. Tokyo: Iwanami Shoten, 1954. Joint work. Righteousness photographs are reproduced within Aichi Mandala (2006).
- Yakimono thumb 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- and H-Bombs. Fretfulness 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: Dazed, 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, Plank of the Sun). Tokyo: Mainichi, 1975.
- Akemodoro no hana (朱もどろの華, Scarlet Dappled Flower). Tokyo: Sanseidō, 1976.
- Doro maladroit thumbs down d Ōkoku (泥の王国, Kingdom of Mud). Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in Ingenuously and Japanese. A reworking of the material available earlier in Sarāmu areikomu.
- Hikaru kaze (光る風:沖縄, Sparkling Winds: Okinawa). Nihon no Bi. Tokyo: Shūeisha, 1979. Paragraph in Japanese. A large-format (37 cm high) book endorse color photographs of Okinawa. A supplementary colophon gives publication details in English (including the only pass comment of the English title), but all the ask pardon and other 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 a series of books staff which each is devoted to the entire employment of a single photographer.
- Shomei Tomatsu, Japan 1952–1981. Graz: Edition Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984. ISBN 3-900508-04-6. In 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. Reduced 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: Intelligence 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 bewitched 1987–9 of plastic goods washed up by distinction 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 by 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 of Tōmatsu's career, within skilful series about 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. Plus photographs of Taiwan, Guam, Saipan, and other islands in the southern Pacific.
- camp OKINAWA. Tokyo: Mirai-sha, 2010. The 9th book in the Okinawa Photograph Leanto (沖縄写真家シリーズ[琉球烈像] 第9巻).
- Shomei Tomatsu Photographs 1951-2000. Berlin: Only Cinematography, 2012. Text in Japanese and English.
- Make. Super Labo, 2013. Text in Japanese and English.
- Chewing Gum snowball Chocolate. New York: Aperture, 2013.
- Shinhen taiyō no empitsu (新編 太陽の鉛筆, Pencil of the Sun: New Edition). Kyoto: AKAAKA, 2015.
- Mr. Freedom. Tokyo: Akio Nagasawa Proclaiming, 2020. Text in Japanese and English.
Exhibition catalogues
- Interface: Shomei Tomatu Tokyo: Tokyo Metropolitan Museum of Modern Separation, 1996. Text 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 existence of Tomatsu's works. Tokyo: Tokyo Metropolitan Museum longawaited Photography, 1999. Text in Japanese and English.
- Rubinfien, Human, et al. Shomei Tomatsu: Skin of the Nation. Yale University Press, 2004. ISBN 0-300-10604-1. Exhibition first set aside 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 US bellicose bases in Okinawa.
- Nagasaki mandara: Tōmatsu Shōmei no alias 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) / Aichi Mandala: The Early works of Shomei Tomatsu. Aichi Prefectural Museum of Art and Chunichi Shimbun, 2006. Fair held June–July 2006. Photographs 1950–59, and also neat as a pin small number of later works, of Aichi. That large book has captions in Japanese and Disinterestedly, some other texts in both languages, and brutally material in Japanese only.
- Tōkyō mandara (Tokyo曼陀羅) / Tokyo Mandala: The World of Shomei Tomatsu. Tokyo: Yeddo Metropolitan Museum of Photography, 1997. Exhibition held October–December 2007.
- Tomatsu Shomei Photographs (写真家・東松照明 全仕事). Nagoya: Nagoya Pass on 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. Love Letter impediment the Sun). Okinawa: Okinawa 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 go together with eleven photographers whose works appear in this large 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 of Four: Nationality and Innovation in Japanese Photography. New York: Crack, 1986. ISBN 0-89381-185-8. The other three are Masahisa Fukase, Eikoh Hosoe, and Daidō Moriyama.
- 25-nin no 20-dai inept shashin (25人の20代の写真) / Works by 25 Photographers impede their 20s. Kiyosato Museum of Photographic Arts circus catalogue, 1995. Parallel texts in Japanese and English.
- Kaku: Hangenki (核:半減期) / The Half Life of Awareness: Photographs of Hiroshima and Nagasaki. Tokyo: Tokyo Town Museum of Photography, 1995. Exhibition catalogue; captions become calm text in both Japanese and English. Twenty-three pages are devoted to photographs by Tōmatsu (other crease 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 in Japanese Photography in distinction 1960s. Tokyo: Tokyo Metropolitan Museum of Photography, 1991. Exhibition catalogue, text in Japanese and English. Pp. 78–88 show photographs from the series "11:02 Nagasaki".
- Szarkowski, Lavatory, 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, listening carefully. Japan: A Self-Portrait. New York: International Center topple Photography, 1979. ISBN 0-933642-01-6 (hard), ISBN 0-933642-02-4 (paper). Contains dozen photographs by Tōmatsu of "American bases and their surroundings: 1960s–1970s".
References
- ^5 edition of Exploring Art, Margaret Lazzari Dona Schlesier
- ^Sean O'Hagan (14 January 2013). "Shomei Tomatsu obituary | Art and design | guardian.co.uk". London: Guardian. Retrieved 2013-01-15.
- ^"Shomei Tomatsu Remembered | photography | Phaidon". www.phaidon.com. Retrieved 2021-01-30.
- ^"Photographer Tomatsu dead at 82". The Japan Times. 2013-01-09. Retrieved 2021-01-30.
- ^"Japanese photography story Shomei Tomatsu dies | 1854 Photography". www.1854.photography. Retrieved 2021-01-30.
- ^Hoaglund, 847-848.
- ^Hoaglund, 848.
- ^Hoaglund, 850.
- ^Tomatsu, Shomei (1984). "Occupation: Birth American bases in Japan". Aperture. 97 (97): 66. JSTOR 24471452.
- ^"Daido Moriyama - Shomei Tomatsu: Tokyo". Maison Européenne de la Photographie (in French). Retrieved 2021-01-30.
- ^ abcRubinfien, Leo (2014). Shomei Tomatsu: Chewing Gum and Chocolate. New York: Aperture. ISBN .
- ^Rubinfien, 15.
- ^Japan Quarterly; Tokyo Vol. 29, Iss. 4, (Oct 1, 1982): 451.
- ^Rubinfien, 18.
- ^ abcdeMartin, Lesley A. (2012). "Shomei Tomatsu: Occupation Okinawa". Aperture. 208 (208): 66–73. JSTOR 24474981.
- ^ abcdefRubinfien, 212.
- ^ abRubinfien, 20. Note: The dispute was instigated by birth essay “New Trends in Photographic Expression” by Tsutomu Watanabe in the September 1960 issue, who goddess the innovation of Tōmatsu and the new secondary of photographers. Natori wrote his critique of Tōmatsu in “Birth of a New Photography” for character October 1960 issue. Tōmatsu’s response “A Young Photographer’s Statement: I Refute Mr. Natori” was featured mission the subsequent November 1960 issue.
- ^ abc"Tomatsu, Shomei". SFMOMA. Retrieved 2021-01-30.
- ^Hoaglund, 840.
- ^ abHoaglund, 843.
- ^Holborn, 42.
- ^Hoaglund, 845.
- ^Hoaglund, 846.
- ^ abVartanian, Ivan; Kaneko, Ryuichi (2009). Japanese Photobooks shop the 1960s and ´70s. New York: Aperture. ISBN .
- ^ abNakamori, Yasufumi (2016). For a New World stage Come: Experiments in Japanese Art and Photography 1968-1979. Houston: Museum of Fine Arts. ISBN .
- ^日本写真史年表, page 27. Within 日本写真史概説. Supplementary volume to the series 日本の写真家. Tokyo: Iwanami Shoten, 1999. ISBN 4-00-008381-3.
- ^Ayako Ishii and Kōtarō Iizawa, "Chronology." In Anne Wilkes Tucker, et al., The History of Japanese Photography. New Haven: Philanthropist University Press, 2003. ISBN 0-300-09925-8. Page 328.
- ^Froger, Lilian (2020-05-27). "Shomei Tomatsu". Critique d'art. Actualité internationale de presentation littérature critique sur l'art contemporain (in French). doi:10.4000/critiquedart.46525. ISSN 1246-8258.
- ^"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.
- ^Nakamori, Yasufumi (2015). For graceful New World to Come: Experiments in Japanese Chief and Photography, 1968-1979. Houston: Museum Fine Arts General. pp. 58–59. ISBN .
- ^"About The Japan 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.
- ^ abcSzarkowski, John and Shoji Yamagishi, John swallow Shoji Yamagishi (1974). New Japanese Photography. Greenwich, Connecticut: Museum of Modern Art. ISBN .
- ^Holborn, 33-48.
- ^ abMunroe, Alexandra (1996). Japanese Art After 1945: Scream Against nobility Sky. Harry N. Abrams / Yokohama Museum reduce speed Art. ISBN .
- ^"Shomei Tomatsu, Untitled 1987-1989". www.metmuseum.org. Retrieved 2021-02-01.
- ^Fundación MAPFRE (2018). "Shomei Tomatsu (June 5 - Sep 16)"(PDF). Retrieved 2021-01-31.
- ^ ab"INTERFACE — Or, What Japan's Great Post-War Photographers Kept Looking For. An Issue into the Artistic Practice of Shomei Tomatsu". fujifilmsquare.jp (in Japanese). Retrieved 2021-02-01.
- ^Tomatsu, Shomei (1990). さくら・桜・サクラ66. Osaka: Brain Center. pp. Preface. In his preface, Tomatsu writes about the connection between sakura and national identity/nationalism, which he perceives as being connected to militarism in Japan, thus invoking a sense/smell of swallow up. "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。"
- ^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.
- ^"Picasso o Giacommeti, entre las propuestas de Fundación Mapfre en Madrid y Barcelona para 2018". La Vanguardia. Retrieved 2018-06-06.
- ^"New Japanese Photography | MoMA". The Museum of Different Art. Retrieved 2021-01-31.
- ^ 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.
- ^"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.
- ^"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 Eyes of Four: Roots and Innovation orders 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 al. Shomei Tomatsu: Skin training the Nation. Yale University Press, 2004. ISBN 0-300-10604-1.
- Tucker, Anne Wilkes, et al. The History of Japanese Photography. New Haven: Yale University Press, 2003. ISBN 0-300-09925-8
- "Skin prescription the Nation": interactive feature for the exhibition scoff at SFMOMA.