woensdag 19 april 2017

AutoPhoto from Man Ray and Mary Ellen Mark through to Larry Clark and Martin Parr Photography

Opening on April 20th, 2017

Thirty years after the exhibition Hommage à Ferrari, the Fondation Cartier will once again focus its attention on the world of cars with the exhibition Autophoto dedicated to photography’s relationship to the automobile. Since its invention, the automobile has reshaped our landscape, extended our geographic horizons and radically altered our conception of space and time, consequently influencing the approach and practice of photographers. The exhibition Autophoto will show how the car provided photographers with a new subject, new point of view and new way of exploring the world. Organized in series, it will bring together 500 works made by 100 historic and contemporary artists from around the world including Jacques-Henri Lartigue, Lee Friedlander, Rosângela Renno and Yasuhiro Ishimoto. Capturing the geometric design of roadways, the reflections in a rear-view mirror or our special relationship with this object of desire, these photographers invite us to look at the world of the automobile in a new way. The exhibition will also include other projects such as a series of car models that cast a fresh eye on the history of automobile design, created specifically for the show by French artist Alain Bublex. It will be accompanied by a catalogue including over 700 reproductions, an alternative history of automobile design, essays by scholars working different disciplines and quotes by participating artists.

Curators: Xavier Barral and Philippe Séclier
Associate curators: Leanne Sacramone
and Marie Perennes

See also

“LIVE IN RELATIONSHIP ARE LIKE RENTAL CARS NO COMMITMENT” Lessons Learned America by Car Lee Friedlander Street Photography

Luciano Rigolini, Tribute to Giorgio de Chirico, 2017. Appropriation (unknown photographer, 1958). Collection of the artist. © Luciano Rigolini.

PARIS.- Thirty years after the exhibition Hommage à Ferrari, the Fondation Cartier pour l’art contemporain will once again focus its attention on the world of cars with the exhibition Autophoto, dedicated to photography’s relationship to the automobile. Since its invention, the automobile has reshaped our landscape, extended our geographic horizons, and radically altered our conception of space and time. The car has also influenced the approach and practice of photographers, providing them not only with a new subject but also a new way of exploring the world and a new means of expression.

Based on an idea by Xavier Barral and Philippe Séclier, Autophoto will present over 500 works from the beginning of the 20th century to the present. It will invite us to discover the many facets of automotive culture – aesthetic, social, environmental, and industrial - through the eyes of photographers from around the world. The exhibition will bring together over 90 photographers including both famous and lesser-known figures such as Jacques Henri Lartigue, William Eggleston, Justine Kurland and Jacqueline Hassink, who have shown a fascination for the automobile as a subject or have used it as a tool to take their pictures.

In the early 20th century, the automobile and its impact on the landscape had already become a subject of predilection for many photographers, influencing both the form and content of their work. The exhibition will begin by focusing on early photographers like Jacques Henri Lartigue, Germaine Krull, and Brassaï, who used the automobile to varying degrees in their work. They registered the thrill of speed, the chaos of Parisian traffic or the city’s dramatic car-illuminated nocturnal landscape to represent a society in transition at the birth of the modern age. Other photographers of the time were attracted by the promise of freedom and mobility offered by the automobile. Anticipating the modern road trip, Swiss writers and photographers Ella Maillart and Nicolas Bouvier, travelled throughout Asia in the 1930s and 1950s respectively, using their cars and cameras to record their adventures along the way.

The exhibition will also present a series of “auto portraits”* made by a variety of photographers from the mi-twentieth century to the present. Yashuhiro Ishimoto and Langdon Clay’s photographs, for example, are portraits in profile of cars parked on sparsely inhabited city streets, that immerse the viewer in a different eras and atmospheres. Ishimoto’s black and white photographs, taken in Chicago in the 1950s, emphasize their polished, curved silhouettes in a distanced and serial manner, while Langdon Clay’s color pictures taken in New York in the 1970s, show their decaying and dented chassis in an eerie nocturnal light. Other works in this section, such as the found photographs of Sylvie Meunier and Patrick Tourneboeuf’s American Dream series, or the flamboyant portraits of African photographers Seydou Keïta and Sory Sanlé, focus on the role of the automobile as a emblem of social mobility showing proud owners posing with their cars.

* A play on words in French: auto portrait meaning self-portrait.

Many photographers have exploited the technical and aesthetic possibilities offered by the automobile, using it like a camera to capture the surrounding landscape through car windows or the reflections in rear-view mirrors.

Cars have determined the framing and composition as well as the serial nature of the photographs of Joel Meyerowitz, Daido Moriyama, John Divola and David Bradford who have all worked from moving cars. From behind their windshields, these photographers capture an amusing store sign, a white car behind a wire fence, a dog running along a dusty road, a highway stretching out into the horizon. Other photographers, including Sue Barr, Robert Adams, Ed Ruscha, and Alex MacLean scrutinize our car-altered environment. Their landscape is no longer one of magnificent mountains, wondrous waterfalls or awe-inspiring canyons, but of a world transformed by the automobile with its suburban housing complexes, parking lots, and highway infrastructure.

Many photographers have explored other aspects of our car culture, from the car industry and its impact on the environment to its role in history and society. Both Robert Doisneau and Robert Frank registered life in the factory, from the machines and productions lines to the activities of the workers lives, the first at the Renault plant in the 1930s and the second at Ford River Rouge in the 1950s. Their photographs, unique in their attention to individual assembly line workers, contrast with the work of contemporary photographer Stéphane Couturier whose deliberately distanced, impersonal pictures taken at a Toyota factory reflect the increasingly dehumanized nature of contemporary industry.

Working in Ghana, far from the automated factory photographed by Stéphane Couturier, Dutch artist Melle Smets, and sociologist Joost Van Onna, put industrial waste from the car industry to good use. Collaborating with local craftsman in a region called Suame Magazine, where cars are disassembled and their parts traded, they created a car specifically for the African market called Turtle 1, using parts from different brands that happened to be available. Their installation, which includes photographs, drawings, and videos, documents the entire fabrication process of this car.

Photographers such as Philippe Chancel, Éric Aupol and Edward Burtynsky are concerned with the car industry’s damage to the environment. Philippe Chancel’s work focuses on the city of Flint and its dismantled General Motors factory, while Éric Aupol’s and Ed Burtynsky’s photographs reveal the sculptural yet apocalyptic beauty of industrial waste sites.

Other photographers reveal how the car plays an important role in historical events, in society and in daily life. Arwed Messmer’s Reenactement series brings together photographs from the archives of the Stasi showing how people used cars in unusual ways to escape from East Germany, and Fernando Gutiérrez work, Secuelas, explores the role of the Ford Falcon, a symbol of Argentina’s military dictatorship, in the collective imaginary of the Argentinean people. Jacqueline Hassink’s immersive projection Car Girls investigates the role and status of women who work in car shows around the world. Martin Parr’s series From A to B chronicles the thoughts dreams and anxieties of British motorists. Still other series by photographers such as Rosângela Rennó, Óscar Monzón, Kurt Caviezel and Bruce Davidson show how the car has become an extension of the home, used for weddings and picnics, living and sleeping, arguments and making love.

The Fondation Cartier has also invited artist Alain Bublex to create for the exhibition a series of 10 model cars that cast a fresh eye on the history of automobile design. His installation combines photographs, drawings and models to explore how the car design has evolved over time incorporating new techniques, forms, and practices.

Despite energy crises, ecology movements, and industrial mismanagement, the car remains essential to our daily lives. At a time when we are questioning the role and the future of the automobile in our society, the Autophoto exhibition reexamines, with nostalgia, humor, and a critical eye, this 20th century symbol of freedom and independence.

A new exhibition explores the car’s photographic appeal.

William Eggleston, Los Alamos series, 1965-1968, Eggleston Trust, Memphis © Eggleston Artistic Trust, Memphis

In his on-going collaboration with the designer, British photographer Jacob Lillis’s washed out images of flowers in and around cars have become synonymous with the Simone Rocha brand, the soberly titled Flowers and Cars series in turn showcasing some his most recognisable work. In November, Sophie Green’s Dented Pride – an offshoot of her visual exploration of the Stock Car and Banger racing subculture – was picked up by streetwear label Carhartt, resulting in a limited 300 piece run of vacuum packed cards and an overflowing launch event with Ditto Press.

The car, as previously determined by Jamie Hawkesworth, who shot the very first J.W. Anderson campaign against a backdrop of car carpets in 2013 (models clutched car doors), is a constant source of inspiration for the contemporary photographer but the phenomenon, unsurprisingly, is nothing new, as a new exhibition details.

Autophoto, which opens tomorrow at Fondation Cartier pour l’Art Contemporain in Paris, is the museum’s second show dedicated to motor vehicles, following Hommage à Ferrari in 1997. Boasting a catalogue of over 500 images, Autophoto – derived simply from the union of ‘automobile’ and ‘photography’ – examines the relationship between the two, from the way the car has shaped the photographic landscape to the photographer’s altered concept of time and space; how such immediate access to the rest of the world has produced modern imagery, and what this association might mean moving forward.

From Man Ray and Mary Ellen Mark through to Larry Clark and Martin Parr, the line-up features some of photography’s biggest names from the 20th and 21st century, as well as many less familiar. On the eve of the show’s launch, we stole a moment with associate curator, Leanne Sacramone.

Ronni Campana, Untitled, Badly repaired cars series, 2015, courtesy of the artist © Ronni Campana

Andrew Bush, Woman Waiting to Proceed South at Sunset and Highland Boulevards, Los Angeles, at Approximately 11:59 am. One Day in February 1997, Vector Portraits series, 1997, courtesy M+B Gallery, Los Angeles
© Andrew Bush

Where did the inspiration for a photographic exhibition about cars initiate?

Well, this is an exhibition we are doing with two outside curators – Philippe Séclier, who is editor of a magazine called AUTOhebdo and someone who is really passionate about photography, he did a documentary on Robert Frank in 2009, and Xavier Barral, who is a publisher of art books and photography books. Their point of departure for the show was the idea that photography and cars are two inventions that go back to the Industrial Revolution, and they have a similarity in that there’s this idea of production in series, for photographs – and production of cars as well – and there’s also a democratic idea, of being able to drive around individually and using your camera individually to take pictures, so all those ideas came together to make this show.

What interested them also was, not only how the car offered new themes and subjects for photographers, but also a new point of view and a new way of taking pictures, because many photographers actually used their cars like an extension of their camera; they’d get into their cars and they’d take pictures, so a lot of the photographs in this show are also landscape photographs. So, you have a whole bunch of themes that have to do with the car itself, the car as an object, the car industry, the usage of the car, the car as an extension of the home, also the idea of the environmental pollution by the car, all of that is dealt with in the show, but also there’s a whole section of, I would say landscape photography done from the car – road trips, artists who would go on road trips and take pictures from their car.

We’re also, I mean it wasn’t the original intention, but in a time when we’re questioning the role of the car – what are cars going to be in the future – we don’t deal with that subject directly, but we’re kind of looking back on the car over the 20th century through the eyes of photographers at a time where, today, we’re questioning the future of what the car will be.

How easy was it to select the photographers and works featured?

It was very difficult, because we started out with a database of 6,000 photographs that we’d all researched – even more I would say – and we had to cut down the selection; ideally we should have cut it to 350 but there are 500 works in the show, so it’s very dense, and you realise, it’s a subject that so many photographers have dealt with. One of the basis’s for selection was this idea of series, we’re showing many photographic series, because of the idea of seriality and the idea of mass production of cars and also, many photographers have shown, basically an obsession or a fascination for the car and you can see that in the way they make a series around (it) and the fact that the car lends itself to making serial photographs – you’re driving and what you see outside is moving, almost in a cinematic way, and photographers will shoot many pictures from their cars as it’s moving.

Photographers have long been drawn to cars for aesthetic reasons. Why do you think this is?

Well, a car is interesting to use as a tool when you’re a photographer, you get in you drive around and you use the windows as a frame for your pictures, you use the rearview mirrors to create reflections, they help you compose your pictures in a different way, and see the landscape in a different way, or the city in a different way. They’re also fascinated with them as a symbol of freedom and modernity and speed, really they were 20th century symbols for all of those things.

Seydou Keïta, Untitled 1952-55, CAAC – The Pigozzi Collection, Geneva © SKPEAC (The Seydou Keïta Photography Estate Advisor Corporation)

Malick Sidibé, Taximan avec voiture, 1970, courtesy Galerie Magnin-A, Paris © Malick Sidibé

And can you think of any significant moments or developments within the photographic industry that has come about as the result of the car?

I’m not sure cars have had any impact on the photographic industry, what I do know is that, for example, Kodak used to – at the beginning of the century – they did a series of advertisements ‘Kodak on the go’, with a woman always with a camera in a car or next to a car (always about to leave in a car), so the two have always been connected

Were there any big surprises during the curation of the show?

Oh gosh, that’s a difficult question. The biggest surprise is the sheer quantity of photographers who have dealt with the subject, and I guess another big surprise is how many photographers have used the same motifs and similar motifs such as the perspective of the road going off into the distance, or using the car side windows as a frame to frame the landscape or the rearview mirror; those motifs come back over and over again.

And did you have a specific audience in mind when you were putting the show together?

Well, we’d like to have a large audience – we’re directing this show to basically everyone who’s interested in photography and cars.

Makes sense. So what do you hope visitors will take away from the exhibition?

I just hope people have a really great experience seeing beautiful photographs from the 20th century up until the present; to enjoy seeing these photographs come together – I mean there’s so many of them and they’re very beautiful, and I just hope people enjoy taking their time to look at them, and discovering them.

And finally, do you have a favourite piece?

Oh I never like to talk about favourite pictures when I’m talking to journalists haha, I always end up insulting one artist or hurting someone’s feelings.

Juergen Teller, OJ Simpson n°5, 2000, courtesy of the artist © Juergen Teller

Autophoto runs from 20th April to 24th September at the Fondation Cartier pour l’Art Contemporain; learn more here.

Words Zoe Whitfield
APRIL 19, 2017

woensdag 12 april 2017

Views & Reviews Europe: Where Time Has Stopped Ikko Narahara Photography

Europe: Where Time Has Stopped by Ikko Narahara
First Edition, First Printing, 1967
Complete Set Including Scarce Original Post Card

This is a first edition, first printing of the critically acclaimed photobook, “Europe: Where Time Has Stopped“ published by Kashima Kenkyujo Shupankan, Tokyo in 1967. Photoeye has provided an exceptional description of the importance of this book, “Like other members of the short-lived but highly influential Vivo agency, Narahara broke with dominant modes of documentary photography, which emphasized story telling, and pursued a more individual and subjective vision. In his famous essay "About My Method", he stated, "Even if a subjectivity abstracted from concreteness called human society is once again plunged into the reality of concrete human society of this land, it should not diminish its meaning as a document." A travelogue of sorts, Where Time Has Stopped records the photographer's travels in Europe from 1962-1965. The off-kilter, expressionist compositions bear the unmistakable mark of Klein, yet are entirely more stark and surreal. Rather than giving the viewer a sense of the photographer as plunged into the world, Narahara's compositions possess an uncanny sense of vertigo--of the camera as almost disembodied, floating through the scenes it observes. "More than once," Narahara has said, "I had the impression that the spirit of my photographs achieved a detachment and freedom of the soul close to nothingness: what is called Zen".

“Europe: Where Time Has Stopped” earned Ikko Narahara the Japan Photo Critics Association Photographer of the Year Award, The Mainichi Art Award, and the Minister of Education’s Award. The book is cited in Ryuichi Kaneko’s reference work on Japanese Photobooks, “Japanese Photobooks of the 1960s and 1970s”.

Measuring approximately 11.75” x 8” and containing 105 black and white and 30 color photographs including 5 gatefolds, the book is bound in blue cloth boards and housed in a photographically illustrated slipcase with acetate cover. Included in the book is the original publisher’s post card as issued. The book is in Near FINE+ condition with a very small crease to the corner of one of the gatefolds . The slipcase is in Near FINE condition with some wear to the corners and a small loss to the spine head of the acetate covering. This is a notoriously fragile title and is very rarely found in collectible condition. Overall, this is a superior copy of an influential photobook that is becoming increasingly scarce.

Jesse’s Book Review – Where Time Has Stopped by Ikko Narahara
Jesse's book review /by Bellamy / June 15, 2014

I always felt some of the worst atrocities in photography occur when one is traveling. To be fair not everyone who picks up a camera is out to express any feeling or say anything beyond what is captured in a photo, but more so out to record that they in fact existed at a certain place in time. The atrocities I guess I can be attributed to the sheer volume of documentation one needs to remind themselves that “this is in fact how I look in front of the Eiffel Tower”.
Moreover everything is new; everything is a novelty so it all must be shot. This is the crux of the travel photographer. When I travel I found it amusing to discover things I know just in a different form, because I really do loathe exoticism. So I like to sit and have a beer with a book an observing as if I was at home. I look at people’s faces as I do as if I were at home, always looking for not the differences but the similarities. I do this with the feeling that I am a man, not a tourist.
Why is it then that when photographers go abroad to shoot the results are so bad? It is because they no longer behave like normal people. Even professionals admit at failing to overcome this, think Lee Friedlander said it quite well when he spoke of his admiration from Cartier-Bresson in his ability in being able to travel and still shoot photography as if he were at home. I would put Ikko Narahara in this same conversation.

Where Time Has Stopped was Narahara’s first publication releasing in 1967. It is nothing more than photos taken on his trip to Europe. Yet where it differs is in his theme and purpose. He tells of being up one autumn morning in Paris park observing couples of all ages coming and going.
To sum it up he saw it as the whole cycle of life and came to the conclusion that “man fulfills his life by dying, and death is an important element of life…” it goes on and I would paraphrase but I think if you can find this book you will take delight in his writings and thoughts and seeing them expressed through a camera. However, this what his travel inspired in him and this is what the shots reflect. I will mention that he sees these moments as something outside of time and this is where we arrive at the title.

I will take some time to provide this camera geek information as I will relate it thereafter. This was all shot on an Asahi Pentax SP SV with every lens from a 18mm-300mm, though majority were shot with a Super Takumar 28mm f3.5. The photos are both in black & white and color.
I was struck at how much gear he required for this, yet after a second viewing blown away at how well he used the strengths and weakness of the lenses to give his expression. In addition to his use of double exposure and other effects, none of it feels forced and it is edited well together. The photos are actually taken throughout Europe yet he manages to make it feel like one big country as he apologies  for in his essay, this of course was not the point to give identifiably location for means of documentation but only to express his idea.

Previously I reviewed Narahara’s Tokyo the 50’s, a book consisting of mostly forgotten work from his early photo days as a hobbyist. I was lucky enough to see another book by him covering his journey across the American west. Haven’t been able to find the book since, but it was amazing and makes me wonder how much Friedlander has seen of it or vice versa (guess I can look into that when I find the book). But from Tokyo the 50’s to Where Time has Stopped you see such a massive of expansion on his ideas and motifs.
Where the earlier work saw witty plays on lines and form throughout Tokyo that is above average or superior but very doable to the average street photographer today this work required much more and makes more demands on the viewer. The shots are much more static in this work and experimental at times to the point that boarder on abstraction.
Much of the first photos are under/overexposed shots of classic cathedral architecture that often are shot from the inside looking out. This goes into chapter 2 that features window reflection shots that symbolically would be the reverse the outside looking in. This is what a more critical street photographer would call a cliché, but they don’t at all feel like a collection of window shots. They are done so well that they feel like frozen moments in time or more literally double exposures lol.
This leads us to chapter 3 that features photos over the course of an afternoon in which there are a series of interesting color shots that I cannot say I have ever seen done. He must have taken off his glasses, had a macro lenses and shot as if looking through the glasses focus through his own camera’s glass. The photo below can better explain it, but the juxtaposition he creates between the two isolated eye glasses really struck me as original.

Chapter 4 is quite short focusing on trees that are starkly contrasted to the point where there really are no grey tones and look like abstract lines on paper. Chapter 5 is called Fossils and focuses on statues and ancient ruins. From this I really liked two photos focusing on the feet of statues. The one on the right uses shallow focus, another cliché today, yet makes it work.
On the top left of the frame we see suspended the legs of a statue while the rest of the shot is out of focus. We can however make out a woman walking past and diagonal staircases that gives the photo tension. Whilst not spectacular, I found it one of the more peculiar images that fully exemplifies my idea of contradicting what one is suppose to see while traveling and taking photos.
The last three chapters are bit more abstract as they are titled Secrets, Dreams, and Where Time has Stopped.

Where time has stopped will make up the contemporary interest to the book as it is the only consistent chapter featuring more conventional portraits and street photography. Some of my favorites include two old women who are talking to each other in friendly manner; one woman is in white with a bonnet the other in black with a bonnet. She is holding a leash to a dog that is fighting with each other one dog black the other white in the same order from left to right as the women.
There is a great portrait of two men staring right back at the camera behind some iron bars of a fence, each of their left eyes are blocked by an iron bar. There is a elegant cafe shot that is reminiscent of Robert Doisneau that is done just as well. There are two pages of plays on lines using a fence: one that reveals to us a baby dressed in bright white and on the other side a woman coming up some stairs that the handrail leads our eye too. This section for me just says how well he can navigate genres of photography.

This is another one of those difficult to find books. The original from 1967 carried at the time 3,800 price tag which would have been quite high now. It came with a hard cover boxing and has a solid 135 pages of large photos, some of which open out into double sections. It is quite a delight and should serve as a testament to his range. Just a shame it hasn’t been republished, think I was only able to Google a handful of images from this book. SO Books here in Tokyo has a copy for 42,000 yen.

Jesse Freeman is a friend, photographer and movie buff. He has a great knowledge of photography books and classic cinema. He can also be relied upon for decent music recommendations.
You can more of his work and passions at the following places:

Ikko Narahara Exhibition in Cologne

I was quite busy the whole summer working Galerie Priska Pasquer on the program of Japanese photography – including a trip to Tokyo. One result of my work can currently be seen at our gallery:

Ikko Narahara – Photographs from the 1950s to the 1970s

It’s the first solo exhibiton of Ikko Narahara´s work in Germany and the first time that his vintage prints from the 60s and 70s are on show in a gallery.

Ikko Narahara: Island without Green #12, Gunkanjima, Nagasaki, from the series: 'Human Land', 1954-1957  ©Ikko Narahara

Ikko Narahara, born in 1931 in the Fukuoka Prefecture was self taught photographer. The response to his first (one week) solo exhibition in Tokyo’s only photo gallery was so positive that he decided to become a photographer. Soon after he took part in the groundbreaking photography exhibition ‘The Eyes of Ten’ in Tokyo in 1957. Two years later he became one of the co-founders of the legendary photo agency VIVO (in collaboration with Shomei Tomatsu, Eikoh Hosoe, Kikuji Kawada, and others), which was to be the epicenter for a new generation of Japanese photographers.

Ikko Narahara: Garden of Silence #03, Hakodate, Hokkaido, from the series: 'Domains', 1958  ©Ikko Naraharaa

In his early work Narahara focused on people who were living in isolation from the everyday world, such as monks in a Trappist monastery or the inmates of a women’s prison. His work aimed at creating a ‘personal document’, he aspired to ‘a process of laying bare the inner form by thoroughly depicting the exterior’ (Ikko Narahara).

Within the walls #03, Wakayama, from the series: 'Domains', 1957 ©Ikko Narahara

Walking a tightrope between description and abstraction, objectivity and a personal narrative, Narahara transcended the journalistic documentary photography then prevalent in Japan. Furthermore, Narahara displayed a particular facility for abstraction and the staging of everyday scenes in strict graphic compositions as in, for example, the series ‘Tokyo, the ‘50s’, which was only to be published in 1996.

Ikko Narahara: Hibiya, from the series: 'Tokyo the '50s', 1959  ©Ikko Narahara

The beginning of the 1960s and the 1970s were dominated by long stays abroad. From 1962 to 1965 Ikko Narahara took photographs in France, Spain and Italy. The results are picture essays in which Narahara evokes the ‘old continent’ within a timeless narrative, a fiction in which time has come to a standstill. Accordingly, one of his contemporary books was appropriately titled ‘Where Time Has Stopped’.

Ikko Narahara: Paris 1963, from the series: 'Where Time has Stopped', 1963  ©Ikko Narahara

Following Ikko Narahara’s return to Japan, his previous confrontation with Europe then led to an increased interest in the particulars of his own culture. Photographic series, such as ‘Zen’ (published in the book ‘Japanesque’) were the consequence, in which the aspect of timelessness was also addressed.

Ikko Narahara: Zen #08, from the series: 'Japanesque', 1969  ©Ikko Narahara

At the beginning of the 1970s Ikko Narahara went to the USA. This was the location of his best-known series ‘Where Time Has Vanished’. During extensive trips across the country he photographed the mythic sites of the American Dream, vast landscapes, Indian reservations, automobiles, motels and casinos. In contrast to his fellow photographers Gary Winogrand and Robert Adams, Narahara did not take a critical approach to the American scene. Ikko Narahara’s photography is primarily poetic with surreal elements, such as the shot “Two garbage cans, Indian Village, New Mexico” in which Narahara found the fantastic and absurd in small-town America.

Ikko Narahara: 'Engraved arrow, Arizona' from the series: 'Where Time Has Vanished', 1972  ©Ikko Narahara

Time coming to a standstill is no longer the subject here, but rather the disappearance of time within a mythic space: ‘As I drove across the land in Arizona and Utah and New Mexico, I began to have hallucinations that this was not the earth at all and that I had been thrown onto some other planet’ (Ikko Narahara).

Ikko Narahara: "Shadow of car driving through desert, Arizona", from the series "Where Time Has Vanished" 1971  ©Ikko Narahara

In 1974, his final year in New York, Ikko Narahara took part in the first exhibition of ‘New Japanese Photography’ at the Museum of Modern Art. Since then his work has been shown in countless exhibitions, amongst others: ‘Japan: A Self-Portrait’, ICP, New York 1979; ‘Ikko Narahara. Photographies 1954-2000’, Maison Européene de la Photographie, Paris 2002 and ‘The History of Japanese Photography’, Houston 2004.
[Quotes: Galerie Priska Pasquer]

Ikko Narahara: Iro, from the series: 'Journey To 'A Land So Near And Yet So Far'', 1969  ©Ikko Narahara

Ikko Narahara, selected publications:

Where Time Has Stopped. Tokyo 1967
Espana Grand Tarde. Japan 1969
Japanesque. Tokyo 1970
Celebration of Life. Tokyo 1972
Where Time Has Vanished. Tokyo 1975
Domains (Ôkoku). Tokyo 1978
Venice – Nightscapes. Tokyo 1985
Human Land. Tokyo 1987
Tokyo, the ‘50s. Tokyo 1996
Stateless Land – 1954. Tokyo 2004