Daido Moriyama

出版者:Aperture

作者:Daido Moriyama

页数:320

出版时间:2012-10-15

价格:$80.00

装帧:Paperback

isbn号码:9781597112178

图书标签:森山大道摄影日本摄影集DaidoMoriyama日本摄影画册Photography

Throughout his career, Daido Moriyama has sought new ways of recasting his images through the use of different printing techniques, installation, or by re-editing and re-formatting them. For this volume, Moriyama has returned to his contact sheets from the past five decades, selecting both classic and previously unpublished images. Included here are reproductions of original contact sheets; sequences of new contact sheets made from recombined negative strips that juxtapose images from the 1950s with those from the past ten years; and selections of individual images, both familiar and newly discovered. Together, they offer a comprehensive assembly of Moriyama's oeuvre, tracing recurring motifs and proposing startling new interpretations of some of his most iconic photographs. In opening up this private process of reexamination to a wider public, Moriyama continues to challenge the viewer, his own practice and the larger mechanisms by which photography makes meaning.

Daido Moriyama (born 1938) has been publishing and exhibiting his photography since the late 1960s, with a bibliography of more than 300 monographs to his name. A major retrospective, Daido Moriyama: Stray Dog, originated in 2000 at the San Francisco Museum of Modern Art, and subsequently toured internationally to the Metropolitan Museum of Art and Japan Society in New York, Fotomuseum Winterthur in Switzerland and numerous other venues. He is a recipient of the Cultural Award of the Deutsche Gesellschaft für Photographie and the 2012 Infinity Award for Lifetime Achievement. Exhibitions include a major retrospective, On the Road, presented at the Osaka National Museum of Art from June to October 2011, and William Klein/Daido Moriyama at Tate Modern from October 2012 to January 2013.

用户评价

"each day us a journey of the mind and body through a labyrinth. sometimes my steps follow a path, other times, I find myself wandering."

这条评论和照片内容本身没有特别大关系。想要评论一下这样的形式。一开始如果细细辨认每一张照片的内容，一行一行扫过去看的话能够清楚感受到摄影者的凝视，这种凝视通过非常个人的角度、被破坏的构图、以及和被摄物之间形成的权力关系来彰显。但是越往后翻，有的时候照片（尤其因为以contact print的形式呈现）是爆炸式的溢出，而且有些时候是重复性的影像。黑和白、被困在照片上的图像因此流动且混搅在一起，凝视者的身份因此消失。这本书越往后看越让我重新开始想钝点和刺点的问题了。摄影的确是当仁不让的后现代主义的宠儿，因为相比各种艺术形式，摄影师对观者的观看形式、想要传达的东西的控制实在是太薄弱了。该如何从这种薄弱的控制中衍生aura真是一件非常有挑战性的事情。

除了早期摄影，未来主义，真正把这种连续图像叠加的玩法，受制于成本和时代的局限，成为一种独立的创作手段创作作品，80年前，张光宇玩过，达达主义玩过，超现实主义玩过，鸡肋。

这条评论和照片内容本身没有特别大关系。想要评论一下这样的形式。一开始如果细细辨认每一张照片的内容，一行一行扫过去看的话能够清楚感受到摄影者的凝视，这种凝视通过非常个人的角度、被破坏的构图、以及和被摄物之间形成的权力关系来彰显。但是越往后翻，有的时候照片（尤其因为以contact print的形式呈现）是爆炸式的溢出，而且有些时候是重复性的影像。黑和白、被困在照片上的图像因此流动且混搅在一起，凝视者的身份因此消失。这本书越往后看越让我重新开始想钝点和刺点的问题了。摄影的确是当仁不让的后现代主义的宠儿，因为相比各种艺术形式，摄影师对观者的观看形式、想要传达的东西的控制实在是太薄弱了。该如何从这种薄弱的控制中衍生aura真是一件非常有挑战性的事情。

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